A TASTY SELECTION …in order to entice you into our very special selection box, I will show images of the artworks that make up this cornucopia.  These will be shown in no particular order….  accompanying each image, will be a short statement from the artist about the work, and a short bio.



Each work in the selection box is a unique watercolour, painted over an existing black and white image. Clare Woods says that she is : “incessantly fascinated with transforming sculptures into two-dimensional, yet tactile, forms. This piece was inspired by a Georgian etching of carved stone penises; I really wanted to capture the solidity of the three dimensional form within the fluidity of the brushstrokes of the painting, reflecting the qualities of the original sculpture; simultaneously soft, smooth, curvaceous yet firm and tactile.”

Woods is a painter who’s paintings feel very sculptural. They combine a fluidity and confidence of brushstroke and coherence, and a homogeneous surface, from seemingly disparate subject matters, from the bunion specialist, silent German bombs Euardo Paolozzi wax heads, First World War bandage manuals, a bird’s nest, dismembered statues, Louise Bourgeois, 7/7 London bombings to cuckoo feeding patterns. the net for her source material for her latest work appears widely flung. While the paintings feel resolved and solid there is also a glimmer of uncertainty, a teetering on failure, an anxiety and tension that is ultimately what holds them together and ensures their success.



Angela has created a painting for each box. She says that “the work is about the pinch you get when you are folding clothes or a bit like a folded page of a book that is closed in a hurry. I wanted to use an everyday colour for the work, so I thought that yellow will be perfect for that. The way the material or body changes when it is disturbed, how it is changing, it interests me a lot.”

At first glance de la Cruz’s paintings appear to have been vandalised or flagrantly abused. Mangled stretchers, slashed canvases, twisted and violated, are hung on the wall like macabre trophies, and yet it is this deliberate and systematic desecration of the canvases which informs the end result.  “The moment I cut through the canvas I get rid of the grandiosity of painting”.



Hughes has created a linocut, delivered with his usual dry wit. He says that his work has been “taken from a quote from Under Milk Wood-  ‘Only you can see in the blinded bedrooms, the combs and petticoats over the chairs, the jugs and basins, the glasses of teeth, Thou Shalt Not on the wall, and the yellowing, dickybird-watching pictures of the dead’    a general non-specific term that suggests a list of social and spiritual taboos that might otherwise prevent a good and virtuous life. A list so long that it is not easily written down and so is best shortened to a simple threat to obey or deal with the consequences. It is written like graffiti on an unconvincing woodgrain that seemed  to printed onto every wipe-clean surface when I was growing up. It’s back to front and upside down in the hope that it might contain a dark subliminal truth”



Abigail has created this collage of hand sewn felt laid on top on an intricate, intriguing photo-montage. She says of the work ” When I look at the human heart separated from the body, its almost incomprehensible that this alien like organ, keeps ones body functioning. Leonardo Da Vinci intricately studied the human heart and understood its workings as one of the most refined pumps in existence. Life really is a “game of chance”, “the luck of the draw”, and we all hope and pray that we’re holding a high card” But for how long.

Fallis was born in East London, England in 1968. She works mostly in sculpture and Print, and first came to public attention with her sardonic ‘underwear works’. This framed series of Stitched men’s ‘Y-fronts’ played on the UK’s ‘Cool Britannia’ reputation, presenting the British flag and other symbols of nationhood in stitched-on images and subverted text. Fallis is fundamentally interested in topical issues that affect our daily lives and often deploys a double-edged sense of humour to deliver her ideas. Fallis experiments widely with materials ranging from silver and bronze to textiles and papier-mâché, fish skeletons and shopping trollies. Her works combine an unconventional beauty with subtle comments on issues that trouble her.



Catrin Saran James has created a print combining silk screen colour over digital black and white, collaged from archival images she has sourced. She says the work is “Influenced by the colour scheme of Neopolitan ice cream, ‘Tuck Shop’ is a celebration of the modernist design features that blazed a trail throughout the post war architecture of Britain.”

James was born in Swansea in 1978. She graduated with a fine art degree in painting and now works in digital collage, print and film. A life-long obsession with the history and design of mid century architecture and British post war housing projects, the kind in which her family lived. Whether cleaning neglected structural design features on 1950s municipal buildings through her act of ‘Guerilla Restoration’, or creating nostalgic photomontages using archive photographs of post-war town centres, the role of artist and archivist intertwine in her practice to scratch the surface of this newly celebrated period in architectural design.