17 Kings Hill Ave, 34 Tower View & Control Tower
Originally from the Thames Estuary, Adam Bracey graduated from the University of Brighton in 1998. He has taught Art and Photography in colleges, universities and schools around Sussex for over fifteen years where he has made his permanent home. The Sussex coast serves as the major inspiration for his work and he has never lived far from the sea. Exhibition locations have included Brighton, Lewes, Shoreham, London, Essex and Edinburgh.
Evolving from a more realist ethos, his paintings have become more concerned with the properties of paint than a faithful representation of a subject. The work has a real physical presence, with textures and surfaces that are not easily reproduced when the work is photographed. Although abstract in nature his work makes direct reference to real locations. The landscape is ever changing, altered by erosion and sediment, light and season. The paintings aim to reflect these natural processes.
39 Kings Hill Ave & Control Tower
Annie Ross has worked with glass for many years and these drawings are related to her research and work with landscape.
Initially trained as a Fine Artist at the Slade, her work has crossed many boundaries both in the context of Fine Art and commercially in commissions and public projects.
The discipline of working with imagery that holds meaning and content has underlined all her work. Her personal research brings together the technical understanding of the material with themes of the life and the landscape that surrounds her.
She has worked both for the commercial arena as designer for a leading Architectural Glass company, Goddard and Gibbs and in parallel, exhibited her own personal work in both one man and mixed exhibitions.
Daniel Grifﬁths trained as a blacksmith before going on to study sculpture at Norwich School of Art. His work reﬂects a love of our native wildlife which grew from his childhood in the rural Welsh borders and which has continued to be a rich source of inspiration throughout his life. Spending time immersed in nature, researching and observing his subject matter, has become a fundamental part of his practice.
Daniel’s work combines the discipline and attention to detail instilled by his background in craft with this emotional connection to the natural world, bringing together these disparate inﬂuences in his beautifully observed sculptures. Daniel now lives and works in Sussex in the shadow of the South Downs National Park and many of the techniques employed in his work would be familiar to the people whose skill and industry have shaped the areas distinctive landscape since the bronze age. Daniel’s sculptures have been cast by hand at his own workshop using techniques which have been practiced since antiquity.
1 Tower View, 30 Tower View & Control Tower
My current work consists of large scale colourful mono prints that explore the appreciation of the beauty of the every day in order to convey a bigger issue. It is the objects, social interactions and scenes of the everyday that are relatable to and form the bulk of our existence, and therefore the important ones - not so much the grand events in life - the beauty of a sugar bowl, a scrap of fabric on the floor, a stray plant in contrast to a painted brick wall, saying good morning to a neighbor. I am all about looking and observing what’s around me . The aim of the work is to both capture the beauty of a moment through the representation of everyday objects, observed patterns and colour, scenes and people, and then to instigate questions on a bigger issue. The work isn’t suppose to be idealistic or dictorial.
Current subjects include a housing block in Budapest - 4 flats over 4 floors surrounding a central courtyard, the block houses a cross section of people. My interest was that because of the walkway access to all flats and the central courtyard layout, everybody sees each other on entering and leaving their place and therefore there was a real sense of community. I witnessed a young man carrying an old lady’s shopping up the steps, and my general observation was that someone wasn’t going to die in their apartment alone and not be discovered for 2 months in this environment.
Outdoor chairs are also featuring a lot , both at home and abroad, the idea of being able to sit out and the interactions that that creates interest me in respect of a less lonely and more communual existence.
In my most recent work I have gone back to my roots as a printmaker and have engaged in making large scale monotypes, using a combination of screen print, block print and painting. I studied printmaking at the Royal College of Art. I want the work to be beautiful but at the same time hold an energy and spontaneity. I love the making - the processes and the physical actions and experiments of layering and deleting elements, over painting and playing with colour and density. I am really interested in the hands of the maker and the tools of the trade, often using either my hands or a screen printing squeegee to apply the paint.
42 Kings Hill Ave & Control Tower
I sit at the confluence between painting, drawing, video and performance installation, letting them mingle and intertwine. I am interested in how to document the essence of something, of what is felt, or embodied within a person or a place. My practice, while sitting between mediums, follows an ongoing conceptual and personal inquiry into liminality; a state of being in-between. I am interested in the ‘journey’ as a performative methodology, in the eternal process of becoming, the meandering volatile and nomadic identity, and the act of tracing sensory or embodied experience through mark making.
My works are journeys and maps. These journeys take place through physical space, imagined space and across the body. These maps are of captured stories, embodied feelings, dreams, memories, desires and fantasies of those that inhabit, or pass through those spaces and bodies.
I am attempting to find harmony within chaos, to find and explore something human, to create something visceral, magical and real.
1 Tower View & 42 Kings Hill Ave
It all started over 15 years ago when I was on holiday in Croatia and someone I met through a mutual friend needed help in turning over a large glass panel. When I saw it, it was love at first sight. I returned to my native Hungary, did a course and set up my business. I worked with interior designers and architects on larger commissions, such as bank branches, solicitors’ offices, health clinics and private residences.
In 2008 I moved to the United Kingdom, the country of fascinating hedges, chimneys and stained glass art. I’ve been lucky to be able to continue working with glass - I’d like to help preserve this country’s traditional glass art and I also hope to make my own modest contribution to British contemporary glass art. I work in a studio in a wonderful and inspiring garden in Buckland, Surrey. I do not have opening hours in my studio, so please contact me to make an appointment.
35 Kings Hill Ave & Control Tower
Author & Poet Richard Lewis’s description of Nina’s oil on glass paintings:
“The colours hit me up with their intensity, like chemicals chasing through my blood. It’s a visceral thing at first and then meaning emerges: I get rivers, seas and mountains, then into cells under microscopes, maps of the earth from space bleeding into brains and embryos, soft tissues and weather systems all on a single sheet of glass, yet it is still. I’m getting flashes of old masters too, like faces and scenes from other things I’ve seen dissolving away from me.”
Nina’s work contemplates the middle ground between what is real and what is not, pushing the view of the objects she paint to the point where they lose their identity, thus revealing an altered view, that could be looking to the universe or travelling deep inside the body.
Pondering the medium of paint, exploring: the quality and viscosity of paint itself, redolent of current opinions of the tradition of painting in an increasingly virtual world and the psychological experience of creating a painting. Flirting with the idea of Rorschach cards and likening the state of mind to that of theta brain wave state.
While studying her Master of Arts in Painting she explored different media, which was a journey to realize a different view for her painting practice. Most of the work during that period was experimental, looking closely at the medium and act of painting itself and often realized in video, installation works and exhibited live painting experiments.
Nina is a Royal College of Art post graduate visual artist, having exhibited nationally and internationally, highlights include ‘London Art’ fair in Chelsea, Scope Miami and Paradise, RCA Milan Fine Art meets Design for Milan Design week. She has work in the private collections of Alex de Brye and public collection of 6KBW; she received the Stanley Smith Scholarship to the Royal College of Art.
6 Alexander Grove
One of the main qualities I’d like my art to do is to reveal itself slowly, so you feel like you are never finished at looking at it, giving you enough information to draw you in but nothing that is too leading.
Memories fade and blur, they are distorted by various factors; emotions, imagination and time, it is this that I want to capture in my paintings, the passing of time in relation to the human condition of emotions.
Earthy tones of layered glazes are contrasted with high chroma areas of painterly applications using acrylics, oils, and spray paint. Traditional painting methods are blended with a process of adding and subtracting, masking and revealing. Boundaries blur between past/present, urban/rural, internal/external to produce a timeless ambiguity.
I draw inspiration from old masters, cinema, derelict spaces, emotion and memories. I have a large collection of images collected from my own photographs, books and from online. I find they are helpful with various aspects from the process of painting to a spark of an idea. The painting process is always one of discovery, the idea I have at the beginning will change along the route of its creation. I find it fascinating the twists and turns that a painting will go through which are dependent on process and emotions whilst painting. It is this dialogue that I want to continue to the viewer; to be able to transport the viewer and to hold their attention long enough for some reflection to occur and a curiosity to look further.
11 Tower View & Control Tower
“Mixed media artist based in Kent working with clay acrylics paper and string”
Im an artist based in whitstable kent, i started out making birds from paper and hand drawings/renderings of local and historic places but i have always held an interest in the organic and fluidity I now use resin, paper, acrylics and clay to create sculptures and 2D pieces.
Currently I am experimenting with dirty pours and swipes, I love to experiment with differing techniques creating my own look and style
4 Abbey Wood Road
My current work is derived from memories of the physicality of being in a natural environment. I work with acrylics and textural materials to create work that conveys the ability of thoughts and feelings to remain quiet whilst the senses are ignited. I aspire to create canvases that reflect a subtle sculptural quality that are overwhelmingly aesthetically driven.
I use photographs from walks and journeys as inspiration and often post images on my @antoniathom Instagram account - these are my sketchbook, the seeds of many of my ideas for paintings.
I look for the feeling of being barefoot in the sand, exploring beachside rocks or that all encompassing feeling of wanting to dive into the ocean on a warm day. To disappear, to relax, whilst still being aware of all that is around.
I worked for many years in an office and holidays were often a common topic that helped us transcend the mundanity of everyday desk work. I love the idea that through looking at a painting you can find a memory, a part of yourself in it that can take you on holiday in your mind.
The light in Greece is a huge influence, and the memory of it I project into paintings that often start from a snapshot from a local Brighton walk.
Recently I visited Elefonisi Lagoon in Crete - the famed “pink sand beach”. Over the years tourists have taken home a bottle of sand as a memento so the real pink hue is largely absent. However, when I visited, in the startling heat, the light on the perfectly clear water reflected a gentle pink tone.
Since then I have used this idea of searching for that elusive beauty and many of my paintings echo this. A beautiful memory of something lost and also found.
My process involves walking and exploring places old and new to me. I have written about it in “Walking In The Rain”, a book published by Octopus through Department Store For The Mind.
Experience as a writer also influences my work, I often use words and instinctive mark-making in my paintings to reflect the fundamental need of humans to communicate without the fear of intellectual judgement.
Originally from Harrogate, Antonia Thompson studied Fine Art at Duncan of Jordanstone College of Art in Dundee. She practised as an artist in Scotland in the 90s and then retrained as a media professional where she worked in online journalism for 14 years. 2015 saw her return to her professional art practice.
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