https://www.culturalcapitalarts.co.uk/services daily 0.75 2024-10-18 https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/facf5841-b5e8-4fac-8186-d67a01471cf3/DavidMankinStudio+4.jpg Services - Artists. Professional, well-written statements are essential to stand out to potential galleries, funding bodies, and clients. Writing about your own work is difficult, but an outsider’s perspective can elegantly identify your artistic line of enquiry. The process begins with a relaxed interview, allowing me to understand your thought patterns, process, internal and external motivations. https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/b59c8b49-b147-4363-ae85-34ed338e46f3/20210113_164847.jpg Services - Galleries. Buying art is seductive. Creating a slick client experience is essential and expected: this begins with your copy. Concise, polished artist bios give your clients an insight into the process, artistic context, and provenance of the work. A refined ‘about’ page clarifies your visual focus. An engaging catalogue foreword creates new insights, widens contexts, and provides a window for the client to view the work through. https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/4332cee9-608c-4321-b954-e60bf6f00860/Screenshot+2021-11-01+at+14.22.09.jpg Services - Publications. The art world is amorphous and ever-growing. New art-collectives, movements, and exhibitions are emerging. Fresh takes and on the happenings of the art world along with an expressive writing style immerses readers and provokes conversation. Creative pitches that always consider the cultural context, tailored to your publication and delivered on time. https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/5d983f03-3cfc-42e9-b83e-49e11374d5b8/Illustration+1.2.jpg Services - Mentoring. Struggling with where you’re going? Unsure what you’re ‘saying’ with your work? Feeling uncertain about your practice? My mentoring sessions help you unlock what you’re trying to communicate. Implementing writing exercises, practical workshops and a series of informal interviews, I help you reconnect with your practice, write your statement and understand how to go forward. https://www.culturalcapitalarts.co.uk/contact daily 0.75 2026-02-19 https://www.culturalcapitalarts.co.uk/books daily 0.75 2024-10-18 https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/5ed97e69-baf6-46ab-8464-4c04b5a07126/Painting+Abstract+Landscapes.jpg https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/fa6cfc48-e857-46b5-8e40-3a3e1048b8b3/37C65A47-0A8A-479D-84E0-1BAD2F357547.jpg https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/c2634e1a-1fdd-4997-bd6a-57632bf0cdb1/PC1.jpg https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/b9f7f042-17cd-42c8-b81c-db25569352a4/PC3.jpg https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/134e305f-b98c-4468-88bc-ad693168d8a8/PC2.jpg https://www.culturalcapitalarts.co.uk/home daily 1.0 2026-02-19 https://www.culturalcapitalarts.co.uk/about-kate-reeve-edwards daily 0.75 2024-01-15 https://www.culturalcapitalarts.co.uk/mentoring daily 0.75 2026-02-19 https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/840a9cca-bc2a-40fa-956f-c55a7c984f8b/Screenshot+2022-11-09+at+15.30.28.png https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/7d903316-51ee-496f-8f19-3534c47be95b/20210114_111739.jpg https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/b2ea489c-82c4-4d54-b3a1-ad40135cd7f8/Screenshot+2024-04-18+at+14.21.36.png https://www.culturalcapitalarts.co.uk/mentoring-1 daily 0.75 2024-10-18 https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/5d46893d-e2da-4479-ad23-5ca630e8afe1/1.jpg https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/15a5f41c-8428-4fff-b76a-717de8792f14/5.jpg https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/6ef6f104-ad9c-45f5-9fb2-7bb155a7ad81/6.jpg https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/b5b7a292-d972-4c83-95e6-eac032886cc3/8.jpg https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/840a9cca-bc2a-40fa-956f-c55a7c984f8b/Screenshot+2022-11-09+at+15.30.28.png https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/7d903316-51ee-496f-8f19-3534c47be95b/20210114_111739.jpg https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/b2ea489c-82c4-4d54-b3a1-ad40135cd7f8/Screenshot+2024-04-18+at+14.21.36.png https://www.culturalcapitalarts.co.uk/portfolio daily 0.75 2024-12-13 https://www.culturalcapitalarts.co.uk/portfolio/unadaragona monthly 0.5 2024-02-12 https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/7ac55567-4498-4b3f-8a39-df2da8e38417/image-asset.jpeg Portfolio - Una d'Aragona - Artist Statement - ‘There is allure in the abject. We are all simultaneously repulsed and attracted by the dark and degraded. d’Aragona’s work accepts the whole of being human, the monstrous and the beautiful, displaying the two nakedly intertwined.’ https://www.culturalcapitalarts.co.uk/portfolio/instagramvsgalleries monthly 0.5 2024-02-12 https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/4332cee9-608c-4321-b954-e60bf6f00860/Screenshot+2021-11-01+at+14.22.09.jpg Portfolio - Instagram vs Galleries - Article - The 2020 lockdowns brought about by the Covid-19 pandemic signalled a potentially disastrous year for artists around the world. As in-studio purchasing, self-selling, and retainers have fallen out of favour, galleries have monopolised the way artists earn money. So, when galleries were forced to close their doors in March 2020, panic spread throughout the artist community. ‘Within an hour it felt like the art world was coming to a close,’ states Matthew Burrows, the creator of the Artist Support Pledge, ‘I felt this wave of desperation throughout the art world. I had to do something. There was no choice in the matter, I had to act.’ https://www.culturalcapitalarts.co.uk/portfolio/suerogers monthly 0.5 2024-02-12 https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/188b5bcd-db01-4eb7-bfbd-86d9835cbc2c/Screenshot+2021-04-29+at+15.37.50.png Portfolio - Sue Rogers - Artist Statement - ‘The tedium, pain and repetition inherent to woodcutting, reflects the tedium, pain and repetition of isolation. With each push of the blade, each repeated mark, the artist is digging into the human condition. She is excavating an essence.’ https://www.culturalcapitalarts.co.uk/portfolio/davidmankinenthresholds monthly 0.5 2022-08-18 https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/bde6e45a-d108-4741-95bf-b994c3d88f4f/Screenshot+2022-05-05+at+14.02.14.png Portfolio - David Mankin - Thresholds - ‘The artist himself is an elemental force, filling up every available space within his work like water, refusing to crawl back from any boundary by hitting it with his full force until it breaks apart.’ https://www.culturalcapitalarts.co.uk/portfolio/katewalters monthly 0.5 2024-02-12 https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/a980b628-4534-4e8a-808b-807d8ba2c6e8/Leopard+dreams+of+Tree+watercolour+2019.jpg Portfolio - Kate Walters - Essay - ‘The forms of birds, trees, and plants emerge from the mist of Walters deep connection to the earth and the animals that inhabit it. There is a mood of a dream space about them, but their delicacy creates a focus in the viewer.’ https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/26299889-9875-4376-a929-4eefbb7c230e/When+Eye+becomes+Bird+Sequence+image+5+Kate+Walters.jpg Portfolio - Kate Walters - Essay - ‘The Iona Notebooks’, which were published by Guillemot Press in April 2017, was the first instance of both her poetry and her artwork being exhibited side by side. The founding editor of Guillemot Press, Luke Thompson, needed an image for a book of poetry, so sought out Walters after she had come back from her residency on Iona. The artist told Thompson about the writing she had produced during this trip, and after looking at it, he suggested they make her images and poetry into a book. Due to this success, and a need to get back to a wild place, Walters applied for a residency on Shetland for July 2017, which resulted in her second book ‘The Shetland Notebooks’ being published earlier this year. https://www.culturalcapitalarts.co.uk/portfolio/gerdbrockmann monthly 0.5 2024-02-12 https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/8aabcb21-fef0-4882-9998-0e0788a9215e/OMYS+Ormanli+Turkey+by+artprojectbrockmann.jpg Portfolio - Gerd Brockmann - Artist Statement - ‘The artist considers everything his material, conjuring work out of unstable components to create art that is poetical and productive.’ https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/c7d6c3d0-6ae7-4c5e-a449-f4b8f4fe6295/GREAT+MOSQUE+BURSA+Turkeyartprojectbrockmann.jpg Portfolio - Gerd Brockmann - Artist Statement - One Moment Yellow Silence. https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/2946ce8b-654b-4bbb-adf4-5e1dc57aed24/Golden+Silver+Reign+Eskisehir+Turkey+artprojectbrockmann.jpg Portfolio - Gerd Brockmann - Artist Statement - Golden Silver Reign. https://www.culturalcapitalarts.co.uk/portfolio/jemmapowell monthly 0.5 2024-02-12 https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/2fa2d73d-313b-49d9-9478-c428730bd524/Boats+amd+Prickly+Pear+oil+on+board+37+by+72cm.jpg Portfolio - Jemma Powell - Artist Statement - ‘The artist will, trance-like, instinctively lay mark over mark until the painting is finished. Because of this, her paintings have a captivating fluidity and dynamism, a sense of calm alongside one of joyful chaos.’ https://www.culturalcapitalarts.co.uk/portfolio/davidcass monthly 0.5 2024-02-12 https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/f215fa16-3316-4721-bf7a-5d7a85c30ae3/DSCF1835.jpg Portfolio - David Cass : One Wall, Two Oceans - An Essay - David Cass’s prior work has been building up, like an oncoming swell, to this exhibition. https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/0a2a9019-7a54-4ce6-ab89-759fbbd29545/Bristol%2C+Dominique+INSTA.jpg Portfolio - David Cass : One Wall, Two Oceans - An Essay - The typical data we are presented with is that the global mean sea level has risen 21–24 centimetres since 1880, but this average figure doesn’t tell the whole story, far from it. Some places are experiencing a more dramatic rate of rise year-on-year than others. By mapping sea level changes across a person’s whole lifetime and attaching this rise to the place of their birth, the change feels more visceral. Both you and the waters have grown with time. ‘Reports on the climate crisis, especially in recent weeks, can seem too catastrophic to consider’ says Cass, ‘many of us feel a sense of despondency and it’s often easier not to engage when an issue is “far off”, unrelatable, or perhaps even within the realm of science fiction. Yet when you are told the data in a way that is personal, it becomes more manageable.’ Through art, scientific data can be presented in an engaging way; it is a mobilising medium. Installed, the letters act as a kind of kinetic wall sculpture; all the sheets overlapping to create a united, rustling organism. The letters are personalised in content and unique aesthetically; because of the varying surface, each has been adapted to engage with the ground it is typed upon. Like everything Cass creates, the letters use vintage paper: old receipts, invoices, or plain stationary, often over a century old, dating back to the time the warming began. https://www.culturalcapitalarts.co.uk/portfolio/jesseleroysmith monthly 0.5 2024-02-12 https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/792c7a56-8c7e-4e64-b8c3-df9aa641dfd0/20200305_153643.jpeg Portfolio - Jesse Leroy Smith - Essay - ‘The abstraction often becomes a distorting force, as if it is seeping through the canvass, through the figures, creating an entirely different feeling of emotional weather.’ https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/da8c4462-cd0f-4dab-875e-41202515f06b/20200305_142504.jpeg Portfolio - Jesse Leroy Smith - Essay - His interest in collaboration with young artists has become part of his practise. As Leroy Smith has an interest in faux-naive or ‘outsider’ art, as a point of contrast with more carefully constructed work, young people’s responses to new processes energise him as an artist. With younger artists, there is an emphasis on the immediate in the way the paint is laid down, he suggests, ‘you can approach work from an academic and technique-oriented point of view but it is so refreshing and exciting to see a young artists reaction to something they have never done before.’ Leroy Smith enlisted his son to co-paint some of his work for ‘Force Majeure’, for this very reason. As an artist, he is interested by father/ children relationships, so it was important to have this physically represented within his work. He became inspired by the direct nature of his son’s painting and the confident, unexpected results it produced. This collaboration extends his works duality. Having his son contribute to his work brought in an element out of his control, an extension of the abstract and chaotic parts of his work; although he allows and enjoys his son’s more peppy style, the artist is still very prescriptive about colour and positioning, which similarly an extension of his work’s more considered, figurative elements. https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/1589847737533-XZEYJ52CL1Y88CID07X1/image-asset.jpeg Portfolio - Jesse Leroy Smith - Essay - This interest in revered classical art is contrasted by a love of dance music, especially that of ‘Underworld’, ‘LCD Sound System’, and ‘The Velvet Underground’. These three bands in themselves accomplish dualism; the records are split between beautiful, tender, lyrical songs, and powerful, raunchy, avant-garde dance music. He paints to these artists, drawing their sounds into his work. A marriage of Leroy-Smith’s two states is perhaps in the closing image he gave me: one of him sitting in a Greek art gallery creating pensive studies in a transient state of focus, whilst these heavy and chaotic dance tracks play in his head. So, he is always ‘being two things’, right down to his solitary moments. The sophisticated and the bacchanalian are all human beings are really: the Id and the superego, the rational and the sub-conscious, all battling to be the focus of our image. It is this that Leroy Smith shows us, which is why his work connects to so many; it is entirely, truthfully, painfully, human. For more information:: http://www.jesseleroysmith.com/ https://www.culturalcapitalarts.co.uk/portfolio/pippayoung monthly 0.5 2024-02-12 https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/b4334053-bc91-4086-a909-38490e665b83/convention+of+fools+crop+copy.jpg Portfolio - Pippa Young - Essay - “My intention is to try and remove distracting things from a person to distil the idea of human experience. Not a female human experience, not a male human experience; I want my work to show the similarities inside us.” https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/444e6a88-4df6-457f-aaa7-9388e80e7147/fragment+montage.jpg Portfolio - Pippa Young - Essay - She is interested in interrogating what happens when traditional female poses are taken up by a masculine subject: does this make us question the binary of sexual difference in society? It is not necessarily her intention to produce depictions of a political ‘soft masculinity’ or ‘strong femininity’ in her work. Rather like Ali Smith’s characters in How to be Both she produces a kind of vibrating, ambiguous, blurring of gender to present a distinctly human experience. The artist clarifies: ‘my intention is to try and remove distracting things from a person to distil the idea of human experience. Not a female human experience, not a male human experience; I want my work to show the similarities inside us.’ Young, in Butlerian fashion, says flippantly, ‘gender is a nuisance’ and her work shows a troubling of it within its canvases. She does this by changing our expectations of poses and by picking deliberately androgynous or neutral models: dressing them in caps, ruffs, or Mary Antoinette hair styles to further disrupt or confuse any attempt to prescribe gender. In some ways, Young’s work, in all its layering and peeling, reveals how we all enact a kind of performativity in terms of how we present ourselves to the virtual world: a performance of beauty, intelligence, success, and, indeed, gender. https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/1646b3a0-138e-46e5-8230-da4f6a79149e/20200531_175738.jpg Portfolio - Pippa Young - Essay - Although Young deals mostly with problems of the visual within her work, words have started to gain importance. In her successful 2019 inclusion at the Draw Art Fair at Saatchi Gallery, she featured 48 small works, presented together in a 8 x 6 grid, titled ‘Postcards to Myself’. With each piece she allowed herself to experiment in a way she wouldn’t necessarily risk with a bigger piece, to ‘record ideas without judgement’. In these instances of experimentation, she began to play with words. She began to do what she calls ‘redactions’, ‘where small word-fragments are recontextualised to create new meaning and mediation’. This, as she astutely points out, is in fact a distillation of her core practice, just with words instead of images. She began with a copy of Jane Eyre, a book she was forced to read for O Level and at the time disliked. On re-reading it, she began to enjoy the evocation of the language and started to scan the pages until she found a word she ‘liked the look of’, painted it out of the context of its linguistic surroundings, and placed it in relation to other pleasing words, to make connections between the fragments, resulting in object-poems. https://www.culturalcapitalarts.co.uk/portfolio/carolinewong monthly 0.5 2024-02-12 https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/ab5f0a77-10ce-4282-abb6-757180b55c09/Screenshot+2021-03-01+at+18.16.08.png Portfolio - Caroline Wong - Artist Statement - ‘Wong luxuriates in the epicurean side of herself, producing excitable, expressive marks and heated, joyful colour driven by a hedonistic desire for fun, producing work that is a jubilant pushback against tradition.’ https://www.culturalcapitalarts.co.uk/portfolio/davidmankinencounters monthly 0.5 2024-02-12 https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/163ef570-9cfa-4dd8-8b7a-a5693c094f90/Screenshot+2021-06-05+at+15.49.30.png Portfolio - David Mankin : Encounters - Catalogue Foreword - “As a painter every day is an encounter, not only with the canvas you’re working on, but with the materials, the choice of colour, the paint application, and the tools. My process is one of intuition, change, transition, improvisation, embracing accidents and taking risks, to see how far I can take a painting.” https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/4bcc5fae-e013-4b30-b92c-fe51f8d4a273/Tempest+102+x+102.jpg Portfolio - David Mankin : Encounters - Catalogue Foreword - This exhibition is named Encounters because it describes exactly Mankin’s relationship with painting. An ‘encounter’ implies an element glimpsed in the landscape, the shape of a stone or the colour of turned earth, whilst simultaneously reflecting a developing conversation with the materials, as a representation of the creative process. Mankin’s paintings feel both experienced and built, engaging the viewer on two levels. His paintings transport the viewer into the fray of his dynamic Cornish landscapes, whilst involving them with a thoughtful and roving surface. We can see where Mankin has built up, scratched back, changed direction, moved forward, pulled away. The painting’s history and rhythms are tangible. This is, fundamentally, why we are so arrested by Mankin’s work as viewers. He generates a visceral response. One unearthed mark, one part-hidden hue, will generate a memory, a feeling, a sense of something mistily remembered. We do not only feel the sea spray on our faces, the warmth of the sun, the drama of high winds, whilst standing in front of a David Mankin painting, we feel it speaks to us directly, excavating our own weathered, private, devotion to land and sea. For more information: https://www.david-mankin.com/passages https://www.culturalcapitalarts.co.uk/portfolio/davidmankin monthly 0.5 2024-02-12 https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/126c9ca3-41e2-4100-8896-e03220eb4e06/The+sky+widens+copy+102+x+102.jpg Portfolio - David Mankin - Essay - ‘Mankin physically attacks the canvas, hitting it ‘with a certain degree of attitude’, scratching into it, splattering large arcs of paint made with enormous sweeps of the arm..’ https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/d5adb6c2-030a-4039-a810-700f718b4081/Daffodil+sky+102+x+102.jpg Portfolio - David Mankin - Essay - Mankin explains, ‘you can’t have control if you are creating something completely of its own nature.’ He goes on to quote an excerpt from book on Robert Motherwell, to highlight this: Motherwell was struggling to accurately depict sea-spray in a painting, ending up getting the desired effect by using a yard-long brush and liquid oil paint ‘[hitting] the paper with the full force of my one hundred and eighty pounds, with the painting brush moving in a six foot arc… An adequate equivalent of the pounding summer sea spray appeared’. Similarly Mankin embodies the nature he reproduces, using charcoal attached to long poles, slathering on paint with a dough-divider. This is how he produces a feeling of the landscape, rather than a photographic reproduction, and why the viewer feels like they inhabit his paintings, rather than just standing in front of them. https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/b0a6acce-c02e-4790-9733-6bf8bce8d254/Restless+land+40+x+40.jpg Portfolio - David Mankin - Essay - He is especially inspired by trance music, explaining that it has highs and lows, and is at times melodic as well as having a heavy thumping beat. He gets an emotive and euphoric quality from it that pushes him to places he wants to be pushed to, inspiring him to get physical with his canvases. Using wireless sound-cancelling headphones allows him to get deeply involved with both the track and the painting. He explains the state he gets into whilst listening to his choice of music as invigorating, inspiring, and slightly manic. The music is an aural representation of the sublime, bringing a powerful liberation, anonymity, and excitement to the listener in the face of such powerful pulses of sound. https://www.culturalcapitalarts.co.uk/portfolio/lesleyoldacker monthly 0.5 2024-02-12 https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/333bbc65-4339-43d8-ba03-8c29ad11a0b3/Screenshot+2021-04-29+at+15.35.22.png Portfolio - Lesley Oldacker - Artist Statement - ‘The surfaces her faceless, emaciated figures stand upon seems reflective, meaning the figures never really end, bleeding into the landscape like flowing trees.’ https://www.culturalcapitalarts.co.uk/portfolio/jennymccabe monthly 0.5 2024-02-12 https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/dedd4c66-930a-46d3-9729-a476b548d190/20200930_134731_edited.jpg Portfolio - Jenny Mccabe - Artist Statement - ‘The marriage of the print and the bird is harmonious: both deal in multiples. Mccabe’s flocks of prints are rhythmic repetitions that sing the harmony of plate and wing..’ https://www.culturalcapitalarts.co.uk/portfolio/hilstranter monthly 0.5 2024-02-12 https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/2ca57b17-dc64-4079-9f91-185287a8a9e2/IMG_5445+%281%29+%281%29.jpeg Portfolio - Hils Tranter - Essay - ‘One feels a sense of purpose in following these threads – where they intersect and cross; your eye is allowed time to languidly trace them, transforming the space into one of meditation and reflection.’ https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/3075a4c9-226a-400d-9c18-9204d548fa57/HilsTranter_Hacked_journal%E2%80%93detail_%28nest%29+%281%29.jpg Portfolio - Hils Tranter - Essay - The grasses themselves have been the inspiration for one of Tranter’s pivotal pieces, ‘Dancing shadows – inside/outside’: created with grass mark making, string marks and layers, the image prophetically resembles an open book. The artist keeps the grasses in a tall jar on the windowsill of her studio, and this piece was a response to the shadows they make on her studio wall. The artist has always been drawn to shadows and reflects that, ‘people talk about shadow sides as something bad, but sometimes you only know something is there because you see its shadow.’ Her work is often an outlet of repressed emotion, yet through the creative process she is able to examine her fury, expel it, connect with its source, and understand its relevance. The ‘shadow’ emotion allows for expression and is the vehicle for her art’s creation: ‘opposites can exist at the same time, with shades of grey in between; they create balance.’ https://www.culturalcapitalarts.co.uk/portfolio/spencershakespeare monthly 0.5 2024-02-12 https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/822c1007-8479-4c39-b522-6f0574b94511/96X97+SEE+INTO+THE+TREES+%281%29.jpg Portfolio - Spencer Shakespeare - Artist Statement - ‘His work connotes a kind of mystery, a kind of magic. A world where colours are intense, high-contrast, energetic: vibrating with an emotional energy.’ https://www.culturalcapitalarts.co.uk/portfolio/trudymontgomery monthly 0.5 2024-02-12 https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/76355fc2-4562-4067-8cec-57178f8da9d0/Trudy+1.jpg Portfolio - Trudy Montgomery - Essay - ‘Montgomery feels that the energetic information of place and self is encoded in the painting through colour. She sees herself as a conductor, feeling the rhythm of location beat in her heart, imbuing through the body, along the arm, out through the tips of her fingers, into the paintbrush which dips itself unknowingly into a colour on her palette.’ https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/62e29e25-8e84-47f4-915f-2e732f39e533/ink+%284%29.png Portfolio - Trudy Montgomery - Essay - There has to be mark making and texture within the work to break up or drive through the colour, which is sometimes a challenging task. She explains that she has to find the painting not make it. She has to resolve the painting as it comes to her. It is the penetrating visual idea of palimpsest she strives for in her work; the scraping away and then re-adding. She states that what is underneath is as important as what is on the surface, what is left unsaid, unseen. The deep-dark bottle green hiding between an energetic indigo scribble that gives the painting true depth. https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/2820860c-68dc-4975-a385-20d55fb82c01/ink+%281%29.png Portfolio - Trudy Montgomery - Essay - In depicting an internal feminine landscape, as well as listening to the earth she stands on, Montgomery describes the painting process as meditation. However, this is a meditation not of outward stillness and breathing-focus, as Montgomery’s work is incredibly physical. The artist often deals with enormous canvases, and is on her feet all day in the studio throwing her whole body at the canvas. She explains that one does not have to be ‘still’ to meditate. For her, when she mixes the paint, she is accessing the right part of her brain, which she suggests promotes a kind of automatic-thinking. When she gets into the studio, she is in a space that is entirely hers, ‘no bills, no baby, no guests’, she doesn’t even really think about food when she gets into the flow. It is a space of Trudy-energy for her to create these importantly feminine landscapes. The artist elucidates, interestingly, that her work has nothing to do with language; she thinks thoughts but words don’t form in her head- instead the visual and the movement take over. She calls this spiritual language ‘being with no mind’. The artist enjoys this non-verbal space, expanding that one doesn’t need to go through language, that rather it is a direct response from the painting she is currently working with, ‘you see it, you respond’. It is this immediacy and non-verbal, bodily understanding that makes her process meditative. So, after a day of intense painting, she feels a monumental calmness. https://www.culturalcapitalarts.co.uk/portfolio/georgiaelliott monthly 0.5 2024-02-12 https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/f9b7a5be-2a71-4b54-9f6b-9848d626ca78/TOGETHER-YET-APART-GeorgiaElliott-LowRes.jpg Portfolio - Georgia Elliott - Artist Statement - ‘She tunes the painting to the memory which emerges, utilising composition, colour, and tonal value to emphasise the narrative of place she didn’t know she was remembering.’ https://www.culturalcapitalarts.co.uk/portfolio/bobaldous monthly 0.5 2024-02-12 https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/5f09ca10-9e4b-451d-87d1-2e11c3bd2ab0/bridge+between+earth+and+sky2+80x+60.jpg Portfolio - Bob Aldous - Catalogue Foreword - ‘Observing the reflections of the sky above, interpolated with the world below, transports us to a liminal plane. Similarly, when looking through an Aldous painting, the viewer is conveyed away from their internal clamour to a space of transcendent calm.’ https://www.culturalcapitalarts.co.uk/portfolio/agenerousspace monthly 0.5 2024-02-12 https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/2cc8c39d-01c0-407c-b2ef-d70bc5f8b470/tempImageWfxBrw.jpg Portfolio - A Generous Space - Article - Stepping from the train, I am greeted with horizontal drizzle. This is my first visit to Hastings: it’s a wintry Sunday and the town is deserted. I make my way down a steep hill until I reach the high street. This too is mainly empty: everyone driven away by the typical English weather or nursing the typical English Sunday hangover. The only person in sight is a busker. He is wearing comedy glasses and moustache, louchely holding an old-fashioned microphone, and singing fantastically out of tune. The seafront is filled with soggy fish and chip shops, sea food shacks, and the empty shells of ice-cream parlours; the vendors only have seagulls for company. The frantic rhythm of the waves and the clacking of the boat masts hurries me towards my destination: Hastings Contemporary, to see the Artist Support Pledge exhibition A Generous Space. https://www.culturalcapitalarts.co.uk/portfolio/hereforthestills monthly 0.5 2024-02-12 https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/cfbe5113-c750-41e3-b718-b693310adcdc/IMG_6977.jpg Portfolio - #hereforthestills - Article - On 30th June, 2021 Adam Mosseri, the head of Instagram, announced that the new Instagram strategy is to “lean in” to video content, which Mosseri suggested was driving an “immense amount of growth”. This change in the app left many artists, including Lucy Pass, anxious about seeing a decline in their hard-earned follower counts, engagement, and sales - grown from posting engaging, non-video content. Instagram started life as an app for artists and photographers, and has been incredibly liberating for artists who, for so long, have had to navigate the rough waters of gallery representation. With a move to prioritise video content over stills, what effect will this have on the artistic and creative community? Pass and fellow artist Florence Lee noticed that things were changing for them months ago, with their peers also seeing a decline in their engagement, account impressions, sales and followers. https://www.culturalcapitalarts.co.uk/portfolio/dianebedser monthly 0.5 2024-02-12 https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/509ac800-b0d0-4466-a6bb-b8a10b714c3d/Screenshot+2021-11-01+at+20.20.31.png Portfolio - Diane Bedser - Artist Statement - ‘Diane sees her process as a conversation with the canvas and it is only when all these elements, her colour, form, surface, and line have harmonised that the painting’s content reveals itself.’ https://www.culturalcapitalarts.co.uk/portfolio/ciaragormley monthly 0.5 2024-02-12 https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/7a6424f7-9d7b-4286-abcc-9f9663ae5015/Screenshot+2021-04-29+at+15.33.16.png Portfolio - Ciara Gormley - Artist Statement - ‘The fast application of paint to canvas translates the movement and flux of the landscape; the preference for light washes of paint replicating the way the light filters through the densest thicket.’ https://www.culturalcapitalarts.co.uk/portfolio/neenasingh monthly 0.5 2024-02-12 https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/b30fe0d5-61e9-4993-90b5-d1636c02bfe0/Screenshot+2022-03-08+at+16.58.47.png Portfolio - Neena Singh - Catalogue Foreword - ‘These paintings present raw spaces of honesty, of release, and transportation for both artist and viewer.’ https://www.culturalcapitalarts.co.uk/portfolio/tanyakrzywinska monthly 0.5 2023-04-10 https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/da37c80f-586f-4dfc-8881-57ef7619aa29/Screenshot+2023-04-10+at+17.19.47.png Portfolio - Dissolving the Boundaries - An interview with Tanya Krzywinska - The words and images I use come together in a kind of visual poetry. I’m interested in the landscape as a living, pulsing, needing thing and blurring the lines between the domestic and the natural. https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/15e78546-22ae-46d8-93a6-d64ccf7cfd85/Screenshot+2023-04-10+at+17.20.41.png Portfolio - Dissolving the Boundaries - An interview with Tanya Krzywinska - I mentioned to Tanya that I had never tried virtual reality before so, after the interview, she took me into her study and introduced me to VR. With the headset on, you become entirely absorbed. I saw a sunset dipping below a snow-crested mountain, trees with leaves blowing in realistic gusts of wind, a whale sored over me, huge and steady, I even went to space. Tanya showed me how the ‘hands’ worked, and I learnt how to throw ping-pong balls, which bounced exactly like real ones. I could shoot toy rockets into the atmosphere and hold solid shapes in my hand. She put on a programme called ‘Trip,’ a kind of calming aid, where I was instructed by a disembodied voice to breathe in and out. As I inhaled, shining yellow particles flowed into my mouth, on the exhale they were pushed back out, now a glowing blue. Kaleidoscopic shapes and colours bloomed and morphed in front of me. They pulsed and changed, and I couldn’t help smiling. After an hour or so of playing with the VR headset, my eyes had been opened to a tool which not only aided absorbing story telling but has the potential to provide a calm space and respite from the outside world. For more information: https://tanyakrzywinska.com https://www.culturalcapitalarts.co.uk/portfolio/andrewlitten monthly 0.5 2023-04-10 https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/d3f116fc-c826-43a7-866c-368be4ea50a2/Boy+And+Horse_190x200cm+2023.jpg Portfolio - Resolving from the Inside - An Interview with Andrew Litten - Initially, the marks are physical and very quick, as I need to physically connect with the work. This is followed by more thoughtful, slow stages. I allow the work to gestate for many months, allowing it to dwell in my mind and a way forward to become clear. https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/2e26410f-566f-46a7-8fa7-33f63e1c5cb1/True+Nature_190x240.jpg Portfolio - Resolving from the Inside - An Interview with Andrew Litten - A black form catches the corner of my eye; Evie has come to collect us from the studio. Andrew kindly takes me to the train and we talk about his upcoming shows in London and St Ives. There is a warmth and gentility that comes from Andrew which somewhat contrasts to the power and rawness of his work. It is work of pain and loss but also that of new beginnings, beauty and sensuality. For more information: https://andrewlitten.com https://www.culturalcapitalarts.co.uk/portfolio/katewaltersinterview monthly 0.5 2024-01-15 https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/49065eda-eef6-4bc9-bcc4-275500b680a5/Kate+with+her+drum+2021.+photo+by+Sally+Tripptree..jpg Portfolio - The Sound of the Drum - An Interview with Kate Walters - Shamanic journeying is undertaken by those who have a question they need answered. So those who undertake this virtually assisted journey will need to arrive with an intention. https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/7f2215e6-6cb3-4ede-99a6-5da2817bab02/Lovers+from+another+Age.+Oil+on+linen.+90+x+80+cm+2020+Kate+Walters.jpg Portfolio - The Sound of the Drum - An Interview with Kate Walters - The conversation drifts into talk about her physical work. A painting sits above the mantlepiece, raw and fleshy. A woman and a man in a sexual embrace. The painting could be deemed explicit but more than anything it is beautiful. The paint stands in peaks off the canvas, thick and wet like handfuls of flesh scooped by greedy, loving hands. Kate is encouraging this rawness in her material work, finding intense truth within it. I say goodbye to Kate, thoughts careering round my mind as they always do after a conversation with her. That night I dream of green shoots and springtime. For more information: https://www.katewalters.co.uk https://www.culturalcapitalarts.co.uk/portfolio/yolandearmstrong monthly 0.5 2023-04-10 https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/5d939942-756e-4e6f-9d54-69510ed970a5/Yolande+Armstrong%2C+Biggest+Beast%2C+100+x+100+cm%2C+acrylic+on+board.jpg Portfolio - Bestial Dissonance - An Interview with Yolande Armstrong - I am interested in flesh. Our physical reality is one of flesh: it is the most obvious thing we see. https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/b249a606-fc25-42c1-936b-df6c24e9bf1c/Yolande+Armstrong%2C+Baby+with+Rat%2C+acrylic+on+board.jpg Portfolio - Bestial Dissonance - An Interview with Yolande Armstrong - KRE: Why do you think it’s important that we are celebrating Passmore Edwards? YA: Passmore Edwards was a champion of innovation. He pushed the boundaries and got art out to people who hadn’t been able to access it. This is what Tanya is doing with her digital work: creating a new way to engage with art and exciting people who perhaps wouldn’t access art usually. The creative arts are being eroded at a fast rate and they are crucial to wellbeing. Changing people’s perceptions of what art is and who can access and make it is essential. The interview naturally drifts into casual conversation. Yolande asks about my work, and we discuss the importance of giving time and space to creative practice. She leaves me with this, ‘I love painting, I just need to do it,’ and you can see this infatuation in every stroke of the brush. For more information: https://yolandebigfish.wordpress.com https://www.culturalcapitalarts.co.uk/portfolio/steveburden monthly 0.5 2024-03-06 https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/d0c2c844-133a-48f2-aade-d6bac7b0c8bb/untitled-1077788.jpg Portfolio - Steve Burden : Country Estate / Council Estate - Exhibition Review - “The trouble with Utopian ideas is that one imagines it and the rest have to live it.” https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/9d3d7116-9925-4df5-b761-4314cf5a017e/untitled-1077870.jpg Portfolio - Steve Burden : Country Estate / Council Estate - Exhibition Review - Images - Gareth Gardner https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/65c2b19a-1537-4dac-bdff-cb959b39533c/untitled-1077889.jpg Portfolio - Steve Burden : Country Estate / Council Estate - Exhibition Review https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/159768e6-5785-41ab-9623-3bf0b29a86ea/untitled-1077832.jpg Portfolio - Steve Burden : Country Estate / Council Estate - Exhibition Review https://www.culturalcapitalarts.co.uk/portfolio/spacedasca monthly 0.5 2024-03-15 https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/f5958793-bb50-4fb3-a825-537fc1725784/IMG_2706.jpeg Portfolio - Space DASCA - Artist Statement https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/bb8a51c9-7de2-40bf-bafe-754f09e9d65e/IMG_2711.jpeg Portfolio - Space DASCA - Artist Statement https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/7fc4e1eb-046c-453d-abf4-2a71a99db74a/IMG_2714.jpeg Portfolio - Space DASCA - Artist Statement https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/a823a8f9-0833-4841-aa3e-2f987233f38a/Shoreline%2C+2021+60x60x3cm.jpg https://www.culturalcapitalarts.co.uk/portfolio/nicolefearfield monthly 0.5 2024-03-15 https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/8099c401-9972-41cf-a0e5-fa65a893452c/7f96c6_9564b258c8d64ab4a23914545abf44a1%7Emv2.jpg Portfolio - Nicole Fearfield - Artist Statement https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/5379bec1-db3f-47ad-b002-a559452da339/7f96c6_b113a9cf79494e01bce008094198c15e%7Emv2.jpg Portfolio - Nicole Fearfield - Artist Statement https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/7c7fda02-30d9-4552-a52b-d7a9de5d7c51/7f96c6_2db78c049ffd4921995544c57e3a2ce2%7Emv2.jpg Portfolio - Nicole Fearfield - Artist Statement https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/dba62ea8-603b-4b1c-a14c-7b82cee20e20/7f96c6_16bdb85963d5482ba42905937a194632%7Emv2.jpg Portfolio - Nicole Fearfield - Artist Statement https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/911c5a95-017a-4db5-ae4e-91583318b78d/7f96c6_cd76dd0df6f548699592c8c73358015a%7Emv2.jpg https://www.culturalcapitalarts.co.uk/portfolio/jeanchung monthly 0.5 2024-03-15 https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/1707751480435-N71BLWWU2Y2R2QMN8C2U/IMG_6192+copy___.jpg Portfolio - Jean Chung : What is After a Long Blue Night? - Exhibition Review - ‘This show considers freedom. It poses a question: ‘What is after a long blue night?’ the ‘long night’ being the impermanence of existence.’ https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/9fbf85b2-fbc0-48c5-b4bd-3a3290b3f252/IMG_6256+copy.jpg https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/1710503267052-74EF2EYZWBRI4FST6BPC/IMG_6242+copy.jpg https://www.culturalcapitalarts.co.uk/portfolio/katkristof monthly 0.5 2024-03-15 https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/3f235066-d366-4bdc-86d5-f0e92a843cdf/Screenshot+2024-03-15+at+13.17.25.png Portfolio - Kat Kristof - Artist Statement https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/d292d412-ac09-47df-91a4-5628fcca7dad/Screenshot+2024-03-15+at+13.17.45.png Portfolio - Kat Kristof - Artist Statement https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/83462382-6af9-43ff-80a8-d0a1c14f840c/Screenshot+2024-03-15+at+13.24.52.png Portfolio - Kat Kristof - Artist Statement https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/05381f5e-d3bf-44b1-8729-f413f99efbb8/Screenshot+2024-03-15+at+13.28.48.png Portfolio - Kat Kristof - Artist Statement https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/c96d0034-7a7e-4c3d-a78c-3de437957de1/Screenshot+2024-03-15+at+13.15.37.png https://www.culturalcapitalarts.co.uk/portfolio/lukeknight monthly 0.5 2024-03-15 https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/e2f0f9eb-b9f0-423a-b37e-6c0a9da2772e/Screenshot+2024-03-15+at+13.43.50.png Portfolio - Luke Knight - Artist Statement https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/305e2641-71f0-4e8b-9212-c2ea46667d14/Screenshot+2024-03-15+at+13.44.02.png Portfolio - Luke Knight - Artist Statement https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/61a4d6fa-e119-4de4-8385-2450274b5bf0/Screenshot+2024-03-15+at+13.44.18.png Portfolio - Luke Knight - Artist Statement https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/8c79238c-15a5-4e16-b01c-3e18a4ac67b3/Screenshot+2024-03-15+at+13.45.00.png Portfolio - Luke Knight - Artist Statement https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/0a091bd3-4e18-4cd2-baa4-1ebd6a37c02a/Screenshot+2024-03-15+at+13.44.41.png https://www.culturalcapitalarts.co.uk/portfolio/michaelporter monthly 0.5 2024-03-15 https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/dc17426c-cd9f-43a1-8ff5-db599e04e604/Screenshot+2024-03-15+at+13.55.26.png Portfolio - Michael Porter - Artist Statement https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/bc0319d4-8c2e-4632-b793-de8dc5cb6e5d/Screenshot+2024-03-15+at+13.56.20.png Portfolio - Michael Porter - Artist Statement https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/ab123141-9971-4215-941e-b8369bae1b63/Screenshot+2024-03-15+at+13.56.37.png Portfolio - Michael Porter - Artist Statement https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/ab9fd286-1c17-4e22-b2cd-c9e3c1bf61df/Screenshot+2024-03-15+at+13.56.56.png Portfolio - Michael Porter - Artist Statement https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/bb03680d-a978-480b-bda8-caff5d47946f/Screenshot+2024-03-15+at+13.58.44.png Portfolio - Michael Porter - Artist Statement https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/3e2fb0f7-3819-4be6-91fc-2146daa68c17/Screenshot+2024-03-15+at+13.55.48.png https://www.culturalcapitalarts.co.uk/portfolio/neilcanning monthly 0.5 2024-03-15 https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/6c5b848b-c3a8-4576-a31a-86e5db698824/Atlantic-Drift.jpg Portfolio - Neil Canning : 'Finding Freedom' - Catalogue Foreword https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/2215eff6-e8a0-40c0-a78d-ffec146fce53/Drifting-light.jpg Portfolio - Neil Canning : 'Finding Freedom' - Catalogue Foreword https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/42dd59f1-ca90-4e55-b7e8-5d42830ed913/In-Motion.jpg Portfolio - Neil Canning : 'Finding Freedom' - Catalogue Foreword https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/4446c574-73c8-40c6-9810-3b7dd37a15aa/Evening-Tide.jpg Portfolio - Neil Canning : 'Finding Freedom' - Catalogue Foreword https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/cecc12ca-0eae-4c48-9e2f-078c5a8943f7/Form-the-Land.jpg Portfolio - Neil Canning : 'Finding Freedom' - Catalogue Foreword https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/27590320-cf09-420f-abfc-7c28a8ba26f3/Out-There.jpg Portfolio - Neil Canning : 'Finding Freedom' - Catalogue Foreword https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/f3ca3d39-f90e-4c7e-a6ac-641d4f43799c/Far-Away.jpg https://www.culturalcapitalarts.co.uk/portfolio/dualityexhibitionreview monthly 0.5 2024-03-15 https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/5fb64e3d-0526-4109-bc0f-b3f75498e400/Porthledden%2C+Cape+Cornwall+mixed+media120x74+cms+Sara+Bor.jpg https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/01605540-203d-4dfa-9955-d7d5ae6013c7/Notre-Dame+%28after+Matisse%29.jpg https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/a1a6e332-8b6e-48d7-bf00-57f8a9c582c7/Beach+Huts+%28Pink+Blue+%26+Green%29.jpg https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/839a464f-2d97-4c96-94ed-e2a44217a182/Lands+End+3+mixed+media+44+x+54+cm+Sara+Bor.jpg https://www.culturalcapitalarts.co.uk/portfolio/hannahmurgatroyd monthly 0.5 2024-12-13 https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/4d41608f-c96d-4978-a879-c0abd3dcde05/IMG_0826.jpg Portfolio - Hannah Murgatroyd - 'Resistance is Held in the Body,' Exhibition Review - “Entering middle age for a woman is often a vanishing, which is reflected as a dead zone in a female artist’s career, outside of societies key markers: you’re not young and hot, you’re not a grandmother, and you’re not dead.” https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/4426e331-1044-4862-9c0b-367178b756f7/4.jpg https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/a4665650-554e-4e12-8d03-099da8d28b21/IMG_0823.jpg https://www.culturalcapitalarts.co.uk/portfolio/katyagranova monthly 0.5 2024-12-13 https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/cdefefd5-06ff-4687-953a-c12bbd8ff961/Screenshot+2024-12-13+at+14.22.50.png Portfolio - Katya Granova - 'Voices from a Suitcase' with Shtager Shch, Catalogue Foreword - “A third mark, between two conflicting ones, can often create resolution. It is more which is encouraged, not less. Granova’s work creating a patina of conversation, layers of voices rising to a cacophonous democracy of mark-making.” https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/deed0ee3-9802-4182-b89d-b6664769c77a/Screenshot+2024-12-13+at+14.22.33.png https://www.culturalcapitalarts.co.uk/portfolio/tompalmer monthly 0.5 2024-12-13 https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/e4dcb4b3-dd86-4ed4-838d-37da6a858ade/tempImagejIhNQi.jpg https://www.culturalcapitalarts.co.uk/portfolio/sophiecoryndon monthly 0.5 2024-12-13 https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/82365224-2037-46f2-b102-973a3b7ea4be/IMG_9711.jpeg https://www.culturalcapitalarts.co.uk/portfolio/matildagrover monthly 0.5 2024-12-13 https://images.squarespace-cdn.com/content/v1/6252f8c78c99bd02d7366d6e/1f44e23b-75d0-42f4-ab12-bba03ffc82b7/IMG_9713.jpeg