11 Tower View
From her Waterloo studio Sarah portrays the stunning vistas of London in two very unique and distinctive styles. Her ‘lights’ series are painterly with deep rivulets of colour splashed on to the canvas to create an explosion of light and atmosphere. Her ‘reflections’ series are instantly recognisable with their vibrant colours and naïve simplicity yet complex and sophisticated composition. This style has been referred to as ‘deconstructed divisionism’.
Sarah also paints in the South of France on visits to her mother who lives and works as an artist in the region. The countryscapes she creates there share the same bold use of colour and sensual childlike expressiveness as her ‘reflections’ work.
A bold palette, energy and atmosphere are central to all of Sarah’s works. Her major influences are expressionism and neo-impressionism and most of all Fauvism, particularly Derain and Matisse
30 Tower View
Rebecca Youssefi was born in London, studied fine art at Hastings College of Arts and Technology and then University of Westminster.
As well as being a figurative painter working in mixed media on canvas, Youssefi also does aerial acrobatic circus performance. Major Arcana, her solo show last December at The Underdog Gallery, London, featured an opening show with 10 performers from Hastings Guerrilla Circus.
‘Youssefi’s works are rich and eye-catching. Her gaze feels sometimes outward and sometimes firmly embedded in meditative hermeticism. We live in a world where clock time and local time are collapsing into digital time, global network time, image time, so the question of where the lived self actually is, where embodied reality is taking place is a contentious one. Within the transformational processes of embodiment and consciousness, what are the limits of the self? Which possibilities become apparent when we encounter reality in a vivid whole body awareness, not through a submissive split body-mind, a brain-washed subjectivity or a colonised imagination.’ – Sarah Lloyd
‘What seems impossible initially becomes a living reality through focus and practise, and so this element of the magic of transforming limitations is inspiring to me. It’s helped me realise that very often I am capable of much more than my conditioned fear causes me to believe I am. I work simply with what I can work with, my own experiences and personal history, from the inside out.’ - Rebecca Youssefi
30 Tower View, 4 Abbey Wood Rd & 35 Kings Hill Ave
I studied art at foundation and degree level at Camberwell and Wimbledon Colleges of Art respectively. I designed acouple of theatre productions for fringe theatre but quicklyreturned to my first love: paint! I painted scenery for West End theatre productions, wide screen cinema, TV and music videos for the next seven years, until my two sons were born. Then I began teaching art to various groups from young offenders to professionals.
Art has run through my veins ever since I was old enough to hold a pencil and draw. Mum used to say I never copied anyone: I was only ever on a mission to get out what wasinside me. She often would have to harry me to bed or I would have drawn through the night!
The paintings I call narrative as they tell endless stories. I say endless because a painting’s story can change from one day to the next, as our mood changes and as we grow, so doe our observed emphasis, and our translations. I call myself a method painter, as I tap into intuitive mark making in order to transfer an image more thoroughly: flight, movement, softness for example become the method of painting that particular part. The nature of oil paint is perfect for every possibility of illusion, depth or robustness, when I discovered it I felt like I had found what it was like to paint with velvet, true luxury.
17 Kings Hill Ave, 30 Tower View & Control Tower
My work centres around themes of sustainability, reuse and the nature of value.
I specialise in creating forms in nature using discarded plastics such as car hubcaps and bumpers. I also work with scrap metal.
The types of material that I choose that would normally end up in landfill instead become works that entertain the concept: it might be possible to redesign products so that they have a further application once their original use is concluded.
I carefully select elements within the materials in order to utilise their shape and character and as I work the predesigned and used pieces add a life that is very different from a totally controlled medium.
These particular plastics were intended to last for a very long time. I hope my work outlasts the factory processes that originally created it’s material.
35 Kings Hill Ave
Colour, light and texture are major elements in the work of Jude Evans. She paints landscapes and sea pieces in an impressionist way, using heightened colour and lively brushwork to create mood and convey emotion. Her aim is to bring something fresh to familiar subjects, to express her passion for the natural world and to share her personal vision. Jude studied at Chelsea College of Art. She describes herself as a Romantic Impressionist, and her paintings reflect her passion for Turner, Monet and Whistler, whose works have been major influences on her art practice. Her latest work is Sunlight on the Sea: Variations on a Theme, inspired by views of the sea near her home on the Sussex coast.
34 Kings Hill Ave
I find myself driven by a desire to exploit, to document and display the natural behaviours of oil paint.
It’s hugely satisfying creating shiny, youthful skins of paint; the surface created is smooth and rich with colour, supple and fresh.
As time passes and with some intervention from me, the paint skin undergoes unique behavioural processes, sometimes resulting in a heavily wrinkled, scarred and puckered surface that even years after conception continues to take on its final form.
The ability to imbue the paint with some of the characteristics of ageing makes it an addictive process!
My collage works are created to be consciously decorative; I work by appropriating ephemera to form surreal scenes with the intention of starting conversations, invoking memories, dreams and shared experiences. I am perplexed by what it means to be ‘feminine’; by where that term originates from and by how it has been interpreted by society throughout history, I enjoy exploring this theme within my practice. Some of these works are based on my own inaccurate preconceptions of femininity, collected, adapted, then sealed and captured within a crystalline shell.
They at times illustrate my own personal conflicts within my art practice and life as I try to maintain the spinning plates of Mother, Lover, Artist and Woman.
6 Alexander Grove
Contrasting the artist’s previous work, this series is a pure documentation of an American road trip the artist embarked on in September 2014. Furthering the immediate beauty of the landscapes captured in the images, the artist portrays a sense of peace and freedom to relay the emotion of this part of her trip; for other than the occasional indexical, there is no sign of human life present in the scenes.
Katie Rhona’s work has continued to be influenced by cinema and as the first time the artist had visited America, strong links can be seen in parts of this series, particularly of the diner in Williams and the black and white 35mm scan of Yosemite National Park.
Having previously explored installation in her work, Rhona encourages interaction, in this series the small and intimate framed prints juxtaposing the larger invites you to step close and discover the details and step back to admire the greater landscape in which each narrative is held.
17 Kings Hill Ave & 34 Tower View
The inspiration for my work comes from animals frequently associated with myths and stories.
I trained at the Skelton Studio in Streat, Sussex and now have my own studio nearby.
I have been stone carving for ten years and I started working in clay as a way of making marquettes for my stone work. It became evident that people liked these so I now make them to sell.
I have an interest in mythology and old stories and the inspiration for my first hare came from the story of St Melangell, the patron saint of Hares. St Melangell was a 7th Century saint who is said to have hidden a hare in the folds of her cloak to save it from the hounds of Prince Brochwel of Powys. The hounds it is presumed were aware of Melangell’s sanctity radiating from her and they cowered and refused to go near the hare. Though the Prince encouraged his hounds to give chase they would not go near the saint or the hare and when the huntsman blew his horn it stuck to his lips as Melangell remained in prayer. Brochwel was so impressed by her beauty and courage that he gave her land in his valley where her church still stands. This land was to offer sanctuary to any animal (or human) seeking it.
This story made an impression on me and I have made a number of hares since then as well as other animals. I am now seeking a story to inspire by next collection of work.
39 Kings Hill Ave
My fascination with details of shape and structure of plant and rock forms provides the inspiration behind my abstract paintings. I use a form of mark-making and blending with oil paint on very smoothly primed canvas to create subtle 3-dimensional illusory paintings.
Since graduating from Central Saint Martins in 1996 my work has been exhibited in the UK and USA and has been selected for regional and national art exhibitions and competitions.
39 Kings Hill Ave
My work explores experience of surface, and perception of form and mark making. I am fascinated by the beauty of forms that arise in nature. My paintings are live surfaces, upon which gesture evolves into organic forms. These are both concealed and emphasized through layers of paint, perceived by the viewer with the spontaneity with which they were painted. I highlight the beauty and wonder akin to natural phenomena in nuances of luminous colour. I want to give the viewer a varied experience of space, becoming lost within and distanced from the painting simultaneously. I view my surfaces as living, breathing spaces where paint can exist in a constant state of evolution
30 & 34 Tower View
Once 130ft high trees over 5ft in diameter, pinnacles are formed by centuries of erosion in ancient flooded valleys. The trees, eaten by mussels and sculpted by the natural currents of the water they inhabit are a great natural wonder. A process that can take up to 12,000 years.
Craig enhances their natural beauty by encasing them in bold resins creating stunning individual sculptures.
Craig is a unique craftsman who enjoys a highly successful and established film career. Since the early 90′s he has worked in many areas of the film industry including special effects, prop-making, painting, sculpting & construction. His extensive and varied skills have seen him working on several major films over the years including Harry Potter, Batman, Starwars.
More recently he has been concentrating all his efforts into producing a collection of extraordinary art based furniture works. Using techniques, skills and specialized technologies acquired throughout his film career, Craig has managed to bring his own grand dynamic to the world of sculpture.
17 Kings Hill Ave
I collect recycled fabric, paper and ephemera using collage, stitch, photographic and print processes to create a range of work, most of which is framed. My inspirations are travel, memory and vintage imagery from a variety of sources. These have been described as 'small worlds' and my current layered mixed media work started life as mainly botanical in subject matter before developing into larger more narrative works. Often it can be a small scrap or remnant of fabric that inspires a whole piece and I’m inspired by naïve and folk art. Collaborations are an important aspect of my work and I enjoy working with other artists. I also produce commissions for private and public individuals - examples of these ‘collages in cloth’, based on special places, people and spaces can be found on my website. I teach a range of levels of ability at many venues in the UK and abroad.
My first co-written book for Batsford was published in September 2013 called ‘Connected Cloth’ and I am currently writing solo ‘Textile Nature’ about the many links between textile art and the natural world, due out in 2016.
One Off Chairs
17 Kings Hill Ave
The pair behind One Off Chairs
“We cannot bear waste, and abhor our current ‘throw–away’ society,” says the founders of One Off Chairs, Chico and Lee.
An Eastbourne man, with a background in engineering and sales, Chico relocated back to the town when his mother was unwell. Visiting the hospice every day he soon became aware that donations of house contents to the hospice often resulted in fabulous furniture being discarded, as it was not fire retardant. Chico decided to start buying some of this furniture from the hospice and this was the start of One Off Chairs. Now breathing a fabulous new life into furniture that has decades of history is his passion and luckily for him, his job.
“Every chair has a history and a story to tell, some of them were are person’s favourite chair, some chairs I have found relics of times gone by.” In one chair he found old pennies and cleverly incorporated these into the newly refurbished chair on the armrests.
The range of fabrics and finishes that he used are endless and he is currently working with artists from around the UK to transfer their art onto fabric to be used for various chairs. The tales behind some of the chairs are fascinating and all are individual and unique – hence the
name: ‘One off Chairs’.
More recently their work has been picked for inclusion in the world famous interiors book Art Without Waste - that features 500 upcycled and Earth-friendly designs from cutting-edge designers, illustrators and artists around the world. Published by Rockport Publishers.
An exhibition of paintings by Paula MacArthur, Tom Banks, Gary Goodman and Tim Fawcett, drawing by Ian Hodgson and sculptures by Hubcap creatures.
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