David Anthony Hall
1 Tower View and control Tower
I am an artist of scale, creating works that gather impact from their often larger-than-life size. My images are observed from nature, particularly trees and woodland, giving an escape into the open without leaving the room. I began to explore the potential of my work for medical & office environments early on in my career and have since worked with numerous private companies, hospitals and hospices to the effort of positively transforming their space.
The act of nature is central to the philosophy of my work. I seek to ignite the fundamental connectedness between our all-consuming race and the natural environment that has born us. Whilst searching for meaning in existence and ancestry, I uncovered a living bridge to our origins in the form of Trees. The distinct and prehistoric form of a tree provides a tie between ourselves and our earthly origins; dating back hundreds of millions of years, each has borne witness to our evolution, our life and perhaps finally our demise.
Trees are the foundations of the habitat: they are the lungs of the earth; they recycle our water and store our carbon; they are the raw material of both construction and fuel; & they are symbols of our relationship and weight on the earth. Sheer scale of time and proportion are key elements of my practice, with works gathering impact from their larger-than-life size – growing so to reflect and transcend time. Confronting the viewer with a continuing ancient beauty, my images provide an obvious escape, as well as an invitation to explore our own ephemeral relationship with our natural, yet ultimately changing, world. I aim to reveal the wonder and harmony of the natural world, producing images that emanate the very presence of nature, reminding us of its forceful past and present. By picking out every exquisite detail of form and atmosphere, my images are designed to envelop the viewer: providing a window in which to gaze and empowering an expression of their existence within the magnitude of creation.
39 Kings Hill Ave
After gaining a BA in Fine Art at the University of Leeds in 2010 I settled in London. Based at Wimbledon Art Studio’s in South West London I work to create bold explorations in movement, colour and texture. Working in oil, acrylic, ink, pastel and charcoal I consider myself a mixed media artist, bringing to the forefront visual observations of colour and configurations of the world around us.
Figurative study has played a big part in my art school training as well as explorations into print and mark marking. Although hinting at flora, fauna and still life I believe the medium itself has become the main protagonist of my work. These ‘portraits of paint, charcoal and ink’ give a life to the medium as the subject; they have weight and physicality, form and shape built up with texture and viscosity, examining the relationship between the background and foreground. It is what I put onto my canvas/paper/ board that remains my constant muse and takes superior precedence in my artistic process.
Caroline Streatfield Chalk
17 Kings Hill Ave, 42 Kings Hill Ave & 39 Kings Hill Ave
The memories I have collected over my life since I was a child, standing on a beach and watching the tide, or playing by the White Horse in Uffington, have stayed with me and now, when I see children doing the same, I feel comforted by the familiar landscape.
When I paint, I capture the calm feeling of looking at the sea, or the exhilaration of looking up at ‘The White Horse,’ filtered over many years with memories of visiting these places.
I’m not concerned with getting the view exactly right as I want to show the emotion and dreamlike memory of each place, with all the energy of untamed nature and Britain’s ancient past.
I try to reach out to the viewer so that he or she may feel the eternity of time.I have a degree in Art and a PGCE.I have taught for 20 years and I exhibit in galleries , when I have spoken to people they say they feel happy and uplifted by my work. I also take commissions.
British born figurative painter. Mainly work in oils.
Studied in London and Brighton.
Living and working in Leeds.
Merit at Camberwell College of the Arts, London
1st Class Honours for BA (Hons) Fine Art: Painting, Brighton
Awarded The Edward Baden Fine Art Prize 2016 for my degree show
Awarded an Honourable Mention by Nagoya University for my degree show
11 Tower View and Control Tower
“Being a practicing artist is vital to me as it is an expression and an exploration into what makes us human and what it is to be alive. To be authentic to oneself is paramount and is essential to secure meaning, value, vitality and purpose into existence. I am a multi-sensory artist who questions how conscious thought is constructed and the implications of the unconscious, how we live in and experience time and reality. I aim to express my research on existential phenomenology and embodied experience in a visual form, in order to deepen my understanding of these complex ideas in order to make sense of the world we live in. Art allows me space and time to breathe, feel, touch, see, experience and think visually.”
‘Science tells us we are merely beasts, but we don’t feel like that. We feel like angels trapped inside the bodies of beasts, forever craving transcendence.’ (Ramachandran, 2012, p291)
My practice as research has become an interrogation of authenticity, identity and consciousness informed by Heidegger’s ideas on Dasein’s mode of being-in-the-world. The paintings I make are an ordinary history of experience, aiming to encompass time, not in a linear way but in the temporal way we exist; in a past, present and future that inter-twine. I aim to catch a sense of time, space and movement that embodies physical and experiential modes of human consciousness, encapsulating these ideas in a visual form.
Deborah attained a Fine Art Masters Degree with merit at University of Chichester in September 2015.
42 Kings Hill Ave, 30 Tower View & Control Tower
Ptolemy was born in the south of England but grew up in the north. He studied art and design to degree level at Bradford and Illkley Community College in the mid eighties. He has travelled extensively and has worked at a variety of jobs. These have included theatre set design and construction, stage design and construction, assorted large scale community art sculptural projects and all whilst pursuing his own artistic agenda.
Within his work he concentrates on creating sculpture of natural forms from found and re-cycled materials. At the moment he is working with a variety of materials including shopping trolleys, scrap metal and car wheel trims which he re-shapes into a variety of life forms.
Past clients include DEFRA (formerly MAFF), The Eden Project, Kenwood, the R.S.P.B., The Environment Agency, WWF, Essex County Council, Brighton County Council, Ronseal, Anglian Water, East Coast Trains and Ecover.
TV appearances include Richard and Judy, Blue Peter, Smart and Art Attack and Collectors Lot.
Printed media appearances include The Times, The Telegraph, The Daily Mail, The Sun, FHM, The Observer and numerous local papers as well as many international magazines and papers.
He has exhibited several times in London, also in Brighton, Haslemere, Rutland, Salisbury, Scotland and also in Barcelona, Spain and Athens, Greece.
He currently lives and works in Brighton.
35 Kings Hill Ave
I make paintings that depict landscapes of an expansive, man-made world. I'm not sure which I find more exciting - the abstract constructions around us, or the figures that inhabit them. It's the relationship between the person and the structure that makes the image come alive. I am interested in the massive structures of architecture and machinery around us, and the way man relates to them.
Amongst these domineering structures, human figures negotiate their everyday lives. They are part of the scene rather than the focus of it. Sometimes they are purposefully vulnerable. Mostly, they are purposefully insignificant. My protagonists are down-at-heel, but I hope their presence transcends into something more significant. The people in the images are waiting to move on. I hope they can share that moment of contemplation with the viewer.
My paintings reference a painting tradition of depicting people living and working in the town and its suburbs. The ambivalence of this relationship between the city and her inhabitants seems as relevant as ever. The still image, be it through painting or photography can capture this instant, giving weight to a moment and sense of place.
I keep returning to certain scenes in my work - fountains, building sites, places of work, allotments. For me, these are place of transition, alluding to the life-long journey and the destination that is always just out of sight. Nightscapes transform familiar places, throwing ordinary settings into strange new colours and heighten the impact of our responses. They echo the projection of our own emotions onto our everyday surroundings.
1 Tower View
Karl best describes himself as a designer maker. His workshop is situated in the heart of the South Downs National Park and within view of his home town of Lewes.
He draws his inspiration from all of the natural elements he can see and feel around him whether from his travels or locally from his beloved Sussex Downs.
All Karl’s work is crafted by hand making each unique piece. Karl enjoys the process of collaboration with clients to create individual heirloom pieces.
42 Kings Hill Ave and 34 Tower View
Born in London 1946. Spent majority of working life in the design industry - on retail based projects. Now have more time to get back to oils on canvas. Inspiration comes from many sources but primarily people and places. Its the special quality of light for landscapes and ephemeral moods of people, that become the desire to capture.
6 Alexander Grove
I see the making of work as an alchemical process where each part takes the work to a possible Fixation. I constantly change processes mediums and materials that best suit the particular tale and/or the particular environment; evolving, adapting and clarifying ideas through constant flux to arrive eventually on firm ground. 'Creating a path whilst walking'. Through each critical step from idea to reality, the work is re formed, transformed, displaying simplicity and intricacy side by side, a palimpsest of time and possible meanings.
?In these paintings I use the paint like any other material, more to obtain a surface, a texture, a sculptural quality which describes the meaning behind the making. where the method of mark. Often a dragged nail or other sharp object is used to create a surface that captures light and causes shifts in depth and colour from different perspective.
Art creates change and to change anything one must create a reaction: As Jung stated: The meeting of two personalities is like the contact of two chemical substances: if there is any reaction, both are transformed. I want to create such a reaction with these works. I am interested in the meeting of different mediums, surfaces and textures and the way their react to each other and the viewer to them....a point where light jars, jolts or confuses the senses. For this reason I also like to work on different materials that perhaps evoke a particular feeling, association, or thought, such as velvet, silk, rubber, vinyl, as well as canvas.
I use a limited but symbolic pallet to act as a cipher to an underlying meaning but also to draw attention to the more complex parts of the works. Colour is a siren that attracts the eye, it is the complexity, the intrigue that keeps the eye enchanted.
Inspiration comes from myths, philosophy, science, words and experiences. Bloom, Enso and Ouroboros were inspired by my recent long term travel in South East Asia. I hope to make more of these works in different colours and different surfaces therefore variants on these paintings are open to commission.
Out There is a reflection on my life long fascination with all things way up there! In particular for this painting, the recent reports from the Kepler Space craft discovering thousands of new worlds on it's galactic mission past the edge of all we understand.
I remain fascinated and inspired in the human condition and our day to day attempts to come to terms with being a minuscule, but perhaps intrinsic part of a mostly unknown, unknowable, immeasurable, silent multi verse…… and the complex feelings of awe, wonder, fascination, frustration, fear, indifference, resignation and hope that it inspires.
42 Kings Hill Ave
My work draws upon journeys, on the interplay between the experience and memory of places with a hidden history. The initial stage of my creative process is to make video-walks, I then base my painting s and prints on the videos – seemingly abstract, but with a basis in the seen world. My goal is that my pieces transcend particular places and become spaces in which to lose oneself. They explore the importance of quiet contemplation in a chaotic world.
1 & 30 Tower View & 17 Kings Hill Ave
Salina Somalya, though born in the UK, spent her formative years in Africa, living in Zambia and Botswana. She spent her teenage years in London and studied her way across the North of England; finally settling in Lancaster, Lancashire. Her multi-cultural heritage has shaped her as an individual and in essence,n artistically. Her artistic flair was evident from an early age, inspired by the varied Asian and African cultures and arts around her. Whilst studying for her degree in Architectural Engineering, Salina serendipitously undertook a course in metal arts, which inspired her to change her career focus following the completion of her Masters degree, to pursue an arts based path instead. The synthesis of art and engineering underpins the stylised and contemporary artworks that Salina creates. Her works are robust yet delicate in presence, structured yet creative in form, dynamic in colour, meticulously designed and invariably compelling in their individuality.
Salina’s artwork encompasses a variety of metals from anodised aluminium to steels, together with other complimentary materials to accent the metals. All her artworks are individual and predominantly inspired by nature, natural forms and architecture. In her work she aims to draw out the essence of her subject and re-interpret it into her own stylised design. Salina is particularly well known for her use of anodised aluminium in creating beautiful distinguished artworks for interiors and exteriors. Anodised aluminium provides the perfect canvas for creating distinctive patterns and visual texture with a palette of subtle and striking colours. Combined with the versatility of the metal, anodised aluminium enables Salina to combine art, design and sculpture in creating a variety intricately designed artworks. Her work with anodised aluminium focuses on the intuitive nature of this medium, which enables an array of artistic expressions. The process of anodising results in a microscopic surface layer that is receptive to specific dyes and inks.
When colour is applied to the metal it is drawn into the surface layer, which upon sealing becomes embedded into the metal. Unlike patinas or paints (on metal), the anodised surface mirrors the original finish of the metal and can evenlook like it has been enamelled. At the other end of the spectrum Salina works with steels and non-ferrous metals, designing and creating a variety of artworks that incorporate the principles of design with engineering; from alluring engineered dragonflies to commemorative sculptures for various institutions. Salina’s practice includes the production of numerous artworks created for public and private collections, including artworks spanning hospital corridors,entrance features for private and corporate environments, and custom made pieces for private collections
4 Abbey Wood Rd and Control Tower
I am a contemporary landscape painter. I work in oils on handmade linen boards. My focus is often London, particularly the nature to be found in an urban setting.
January 2017: I am currently creating two pieces for the exhibition 'Views' which is to be held in March to launch the redevelopment of the Star and Garter building in Richmond, London.
1 Tower View and Control Tower
Carving wood is the basis for my sculptural practice. I use found wood to explore the relationship between complimentary opposites. The external form of the wood is always visible whilst an internal structure is carved using techniques such as drilled holes as the means of investigation. Destruction and construction are consistent forces throughout the production of the works. The initial stages of piercing the wood are energetic, destructive and violent. This is followed by a gradual evolution to restoration. Chaos is replaced by a sense or order and in places perfection through sanding and polishing. The natural grain and knots in the wood are carefully accented. Making is used as a form of thinking and thus the final outcome is always a result of the process of production. This process led approach allows the material to guide the outcome alongside preparatory intentions.
Despite the attention to detail, the works are symbolic of imperfection, impermanence and incompleteness. Some areas are left relatively rough whilst other areas are sanded and polished. The forces applied to the material often result in delayed appearance of cracks as the wood expands and retracts in response to the process of carving.
The embroidered works continue these themes through re-presenting the sculptures in a two dimensional format. These work are embroidered on denim or are just the threads themselves. The surface of the work gently undulates as a result of the tension of the thread. The embroidery removes the tactility of the sculpted materials and replaces this with the repetition of stitches. The result is a further focus on the internal and external structures and shapes. These works also impart a further sense of fragility through the medium.
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