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.
The initial inspiration for a painting can arrive from one of many visual sources, e.g. it may be based on a section of a print or collage I have made earlier, or a partly obscured image from a magazine photo or advert. However, once begun, a painting invariably takes off on a life of its own, and soon presents me with possibilities and problems to be solved. I use acrylic paint as I find the rapid drying speed concentrates the mind and helps me work very directly.
My paintings evolve slowly, with many false directions and alterations.
This involves my intuitive response to, and development of, marks made, plus organisation and reorganisation of areas of shape and colour. Often very radical spontaneous changes will be made during the process, as layers of paint interact with each other and suggest new possibilities.
I usually have several paintings on the go at any one time. A painting is finished when there is nothing to be added or taken away.
Graduate of Royal Academy Schools , living and working in E Sussex .
Has exhibited at Mall Gallery ,Wing Gallery ,Spa Gallery , Coach House Gallery ,John Stocks Gallery ,Trinity Gallery , Conquest Hospital , Marle Place , Rye Society of Artists etc
Abstract paintings are acrylic on canvas . Work in collections here and in USA .
In his North London studio John Brown creates his contemporary sculptures based on the human figure, simplified and abstracted, and expressing emotions and relationships.
There are sculptures in stone, usually a limestone or sandstone, and limited editions in traditional foundry cast materials such as bronze or in cast resin metals, such as bronze, aluminium and iron. These limited edition sculptures are usually restricted to just 12 per edition.
Lynsey MacKenzie approaches painting by combining ways of working; from memory and observations of her surroundings, to working intuitively, responding to marks and colours. Often one painting becomes a source for another.
She also has a deep interest in the relationships between painting and time: the timelessness of painting, the non-linear accumulation of imagery and forms, and the way that painting takes both painter and viewer outwith time.
She is concerned with flux, brought about by the passage of time – how order tends towards disorder. She is attempting to create a feeling of space, of something fleeting, of nothing being quite pinned down. She uses flurries of brushwork and planes of colour to celebrate the beauty that can be found in the brevity of things.
Lynsey MacKenzie initially graduated with a degree in Law, but returned to art studying on the Painting Course at the Leith School of Art from 2014 to 2016 where she was awarded the Painting Prize. She then graduated from Glasgow School of Art in 2019 with a 1st Class BA (Hons) in Painting & Printmaking. She has been selected for the Royal Scottish Academy: New Contemporaries 2020 Exhibition, the Breakout Artists: Best of Scottish Art School Graduates 2019 at Art Pistol Gallery, and is a Visual Arts Scotland Graduate Showcase Shortlisted Artist.
I personally describe myself as “a fidget” when it comes to my painting style. Somedays I feel like painting photographic style works and sometimes abstract; a fusion of classical techniques whilst also being experimental. I do have this obsession with depth and colour in my pieces, I love to try and give the flat canvas a 3d quality.
I was born in Dartford, Kent in 1983 and was been brought up in an artistic family so have been painting and drawing for a number of years. I discovered more of a passion for oil painting at school before going on to complete a Diploma in Art and Design at The Kent Institute of Art and Design to further my education. After my time at KIAD I turned to a career in music.
Although I concentrated most of my time on music I still painted many pictures and had commissions as a hobby with the occasional exhibition. From mid-2015 though I decided to change career direction and turn most of my time to my artwork.
“May Everett’s work possesses that grab and steal quality without asking for permission. Everett’s canvases play with the collision of the built environment with the shifting human crowd, and the strong thrust of movement conveyed is almost palpable.
It’s brilliant stuff – successful because its visual power is unflinching, because the play of brush and canvas has not been purely driven by market forces.”
— Colette Meacher, Latest Art
I have no singular ‘idea’; I’m never quite sure where my work comes from until I think it is finished. I like the language of mark making and palpable zing of certain colour combinations. Figures, plant forms, motifs, and structural elements shift, repeat, dissolve, and reappear, through a process of layering and reworking. Some representational elements are usually present, but are fleeting, dreamlike, and are often combined with fragments of memories, a reoccurring theme, or current obsession.
Drawing, printmaking, painting and collage inform each other as I usually work on several pieces and different surfaces / scales at the same time. The process is ongoing as each picture leads to a new challenge.
My work evolves through the process of working and as such is intuitive, and part of it progresses with certain definitive ideas. I work mainly in series and I am interested in exploring formal and informal aspects of image making through colour exploration by applying multiple layers of paint. Applying the paint and colours in this fashion, by over-coating, helps me achieve the desired depth of colour and space. The final imagery is left open to interpretation of the viewer.
Daniela Rizzi’s practice includes painting, printmaking, photography, drawing and mixed media. She studied at Middlesex University where she obtained a BA(Hons) in Fine Art and a Post Graduate Certificate in Education. Daniela also graduated from Camberwell College of Arts with a Masters Degree in Printmaking.
She exhibits regularly and has work held in the Victoria and Albert Museum and private collections. Daniela is a member of the Printmakers Council, East London Printmakers and a studio member of the Barbican Arts Group Trust. She has won the Michael Rothenstein Trophy and the London Print Studio Prize.
Daniela has been teaching for over twenty years and is a lecturer at Kensington and Chelsea College.
Berman translates our landscapes, ancient forests and open spaces, into worlds full of dynamism and stillness via coloured shapes. Berman physically explores woodlands, nature reserves, fields and parks to articulate the personification of our land into a new visual language. The classic elements of earth, water, air and fire, combined with the sensory elements of fluidity, mobility, solidity are declared as an abstraction into how a physical place is sensed.
Berman uses various physical processes of applying intuitive layers of paint to construct or deconstruct her paintings. Large brush marks are in contrast to the static floating shapes that she sees. The next stage is planned as the image is based around those original marks to be encapsulated in movement or stillness. The result is an exciting style of Abstrace Fauvism style of painting that creates a new visual dialogue to engage with.
Rebecca Wilson, Curator & Vice President of Art Advisory at Saatchi Art highlighted her artwork as ‘one to watch’. Featured in House and Gardens Magazine.
The paintings reflect experiences, memories and everyday ‘happenings’.
The colours have an emotional attachment and response to a situation or subject. I am fascinated by the physical journey of painting and manipulation of the painted surface. Indian textiles and the Eastern colour palette, influence the lushness of the work, creating a surface that is sumptuous, jewel-like and inviting. Painting on Hessian or textured linen adds a raw and fibrous contrast with the glossed surface finish.