1 Tower View and 4 Abbey Wood Rd
…is a Scottish born Chilean artist living and working in Sussex, often outdoors and in unforgiving conditions. Her training as an architect strongly influences her work and her passion for drawing. She feel the liveliness of her work helps weave the complexity of the movement of both subject and space, capturing the distinct feel of a place. Her dedication and loyalty to her subjects is evident in each intense mark on the paper. Incorporatiing atmosphere, line and technical skill, her works are immediately recognizable and found in public and private collections. ‘Palatable’ is a study of ethics, aesthetics and food. She has recently been working in London, where you are likely to find her by the river, nose in air.
1 Tower View and Control Tower
Richard Baronio has been making sculpture since 1962. Although he has worked in many different materials including wood, plastic and non-ferrous metals, since 2003 he has been working exclusively in welded stainless steel. He works directly in the medium, without preliminary drawings or models, welding together small pieces of steel rod to build up the large forms. The resulting permanent dark surface is oxidation from the welding process.
Baronio's pieces all consist of organic forms. Whether these forms are "identifiable" or not, he considers all his pieces to be, in the broadest sense, self-portraits. Richard lives in Brooklyn, New York and has taught at the University of Illinois in Chicago, Kenyon College in Ohio, and Parsons School of Design in New York. In England, he has been a visiting lecturer at Sheffield Polytechnic and Central St Martins.
35 Kings hill Ave and Control Tower
I’ve been drawn by the beauty of fine arts and the design since childhood.Having an extensive career as a lighting designer and director of photography I took part in hundreds architectural, music, dance, theatre and film projects. Worked with colours and shadows behind the scenes where I had to capture and highlight images of reality or transform them and create exciting sceneries and virtual environments.
Born in Greece, it was inevitable and determined for my work to be affected from the hard bright sunlight, the dazzling reflection of the rocks and the unique deep blue color of the sky and the sea. I am fascinated with Einstein’s theory of general relativity that gravity can bend time and i feel that we are living in a four-dimensional space-time and i am trying even for a while to create escape paths from reality. Additional to this my passion for speed and flight, both offered me some totally different perceptions of the space and dimensions we are moving in.
I had the opportunity to travel and work around the world and through this exploration I filled my mind and soul with unlimited precious experiences and pictures.After two years in Central Africa i am convinced that art always been essential to us but nowadays could also make a positive impact in the world in a more practical way and i am exploring actions about this.
I moved to London in 2015 and I am working on an ongoing collection of highly expressive and lyrical artworks combining modern technology with traditional techniques. My artworks are affected from my long experience in color combination, light dynamics and composition.
Trough the interaction of familiar shapes, textures, colors and materials that surround us, new unknown elements are created. They do not exist in reality but our universal consciousness can recognize and decode them.
I am not afraid to mix extremely rough brushes with fine detailed lines and vivid bright colors with blur and dark tones. I can respect the perspective and at the same time ignore this rule of human perception.
While painting using digital tools my artwork often conveys the same complex layered effects possible with brushes and knives on multi-textured paintings. Experimenting with the latest fine-art print techniques and the variety of new materials I am seeking the constant evolution in this emerging art form.
11 Tower View and Control Tower
Early modernism and especially Matisse, has been a huge influence in the process of my current work. As a formalist and colourist, shapes, colour and their relationship to one another have become the focus of my painting, creating depth and space without the use of perspective. As a synesthete, I can taste and smell colour as well as feel it emotionally, days and weeks have shapes and therefore colour and shape are central to my experience of the world and in the making of the painting.
In our current daily lives, we are surrounded and bombarded with colourful images, objects and packaging designed to draw our attention. These colours are synthetic as they do not pertain to a natural object, but are placed on a manufactured object/image. I am interested in how these colours impact our experience of nature, two worlds that are now intrinsically woven together. The landscape is littered with food wrappers, plastic and bright road signs. Nature also has its local colours, these paintings blend the two.
The subject of the work is an exploration of the shapes within the landscape and domestic objects, internal and external environments. These paintings bring together the shapes of nature and the domestic merged with the unnatural colours of the world of the consumer, a snapshot of our world today. A fusion of nature and culture.
30 Tower View and Control Tower
My work is currently based around sensation and physical exploration of painting though organic form, archetypal landscape and mark making including the geometric and gestural. Combining different mediated images from sources such as the national geographic magazine predominantly landscape and organic matter, flock wallpaper prints, to Eastern prints old and new. Exploring the idea of combining Decorative and Eastern painting. The works are mainly aesthetically driven, and play with the idea of beauty exploring mark making and the value each gestural mark has within a composition using a range of mediums, layering and density of paint.
I am exploring the idea of beauty and its relationship to the decorative. There has always been a troubled relationship between modernism and decorative arts, my work asks questions about where the value of beauty sits in contemporary painting through using different sources, sampling and quoting from different legacy’s bringing them together. For me, I gather images because there is a quality in them that I find beautiful. It’s a personal attachment to these images; it isn’t simply one dimension of aesthetic characteristics.
I’m attempting to use the genre of landscape painting that are settings to develop a abstract painting language. A moon, or segment of a moon features in many of the paintings, it acts for the shifting in light, I’m interested in the afterglow it gives to a landscape and the appearance of organic forms in twilight. This use of lighting plays a big part in places natural and synthetic colours together. The moon as a motif has appeared in many historical periods of art and I wish to use it to question its value in signs and signifiers in art.
Regarding the materiality; the nature of the surface is key, the aim for a smooth surface the canvas must be prepared in a way to give the smooth qualities involving layers of acrylic gesso and sanding. Working on a very smooth surface allows me to develop a range of marks and gestures; these are integral to the facture which prevalent in the paintings.
The works borrow elements from modernist movements such as colour field painting, pattern and decoration and elements that reflect to the legacy of organic and mechanical abstraction. Using quotation and appropriation to build a visual language, this defines the strategies that I employ in the research and finished paintings.
11 Tower View, 34 Tower View and Control Tower
Gemma Leanne’s work involves the enigmatic dialogue between the tangible world around us and artistic expression. Leanne uses layers of paint and abstract forms to build a range of evocative atmospheres. The minimalized landscapes dreamily spur soporific rivers or twist viewers through woeful storms. Impetuous splatters and sculptural layers of paint invite viewers to soak in these melancholic emotive and ethereal surroundings. Bewitching use of colour lends realistic renditions of seascape qualities whilst whimsical abstraction creates a subtle, suggestive landscape. The evanescence of memory seems to whisper through these pieces, revealing hidden depths of artist’s own experience.
1 Tower View, 30 Tower View and 11 Tower View
Having studied painting and fine art for many years, it was during a Silversmithing and Metalwork degree at Camberwell Art College that Julie was introduced to (and found an instant love for) metalwork and blacksmithing. After graduating, Julie travelled to work and learn the trade from various blacksmiths in England, Ireland and North America. Julie returned to England to set up her own business, which she started near Ironbridge, Shropshire, before moving back down to the south of the country to Oxfordshire.
Working from her forge near Wallingford, Julie undertakes a wide range of sculptural and functional commissions in a range of materials for the garden, home and special occasions.
‘Forging is a process that enables mild steel to become malleable. It gives the freedom to allow a form to evolve whilst being hammered and shaped on the anvil, where, although there are some limitations, the material can be pushed and pulled into any desired finish.
I thrive on creating works of art that have an instant impact and a powerful essence. Each piece has been carried through a hand made journey from it’s beginning to it’s end and no two are identical.’
6 Alexander Grove and Control Tower
Klaudia is an internationally renowned artist. Her works have been shown in her native Germany and across Europe.
This series of work is based on pavement marks found on her travels and the photographic images are then printed and mounted on aluminium.
11 Tower View and 34 Tower View
I live and work in the seaside city of Brighton & Hove. Its a fun and creative place full of interesting people. I live a short walk to a very pebbly beach. My sculptures reflect the scenery found along the shoreline, inspired by the textures, patterns and plant life. This combined with the movement of the water and changes in the weather allow a rich resource for ideas. I like to work in clay as its wonderfully flexible and can combine simple smooth lines with an endless use of texture and pattern which I love. I have a fascination with creating curves and simple pleasing familiar shapes. I'm also obsessed with texture and pattern which I feel brings my sculptures to life. Once the sculptures have been finished its over to the moulding and casting stage.
The process of cold cast bronze is a skilled and labor intensive one. Most of my sculptures have a bronze finish, however recently I cast one in iron and treated it to become rusty. When it rains on the sculpture the rusted patination continues to change, its wonderful.
39 Kings Hill Ave
Karen Munck was trained at Croydon Art School and completed a post graduate fellowship at the School of Advanced Studies in Manchester before embarking on a career as a highly successful international designer.
Painting and illustration has always been part of her life and her sketchbooks accompany her wherever she travels.
She draws her inspiration from the countryside and from natural objects, in nature and in the studio.
During the past 10 years Karen has returned to her original training as a printmaker and has been concentrating on exploring and understanding new and different modern techniques.
4 Abbey Wood Road
My watercolours are large and bold. There are no sketches or fixed ideas. Subjects range from floral interpretation, to abstracts and still life, with colour the motivator. I have not been influenced by any one particular painter, but I am drawn to artists known for their use of colour like Howard Hodgkin.
Painting in a fluid, free style, I respond to the paint and follow where it leads, often changing direction in response to a pleasing mark, or an area of paint.
Colour is vibrantly layered to create depth and mystery, using whatever is available. My paintings are created with passion, which is hopefully conveyed by the finished work.
My work has been exhibited at the Royal Institute of Watercolour Painters at the Mall Galleries in London, at
the Royal Watercolour Society at the Bankside, and the Llewelyn Alexander gallery in London. It has also been selected for an exhibition of prints in Holborn, London, sponsored by Art in Business magazine and Canon printers.
I am currently studying for an MA in Fine Art.
17 Kings Hill Ave
Paula has a degree in fine art and teaches art.
Paula loves the light of the South Coast but she mostly gets inspiration from her garden and from Great Dixter gardens near Rye. This was Christopher Lloyds garden and it retains his brave use of colour and life.
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