Artist : Youki Hirakawa
Title : A Candle
Medium : single channel video with sound

In the video work ‘A Candle’, the candle is laid down on its side, where it burns faster than usual so the wax melts and draws a form denoting the path of time passed. It is a poetic work that the artist acknowledges as showing his concern with ’the way that time seems to be leaking in the chaos of the modern world’. Quietly bringing into question methods by which we may be speeding up the processes of personal, ecological and spiritual combustion. There is a deep spiritual connectedness present in this work. Youki Hirakawa’s vision shows a profound awareness that everything has a duration, but this vision has at its own burning heart, a secret fire - an awareness of the alchemist’s gnostic yearnings for immortality or renewal. Through shifting our perceptions of time, we become more aware that all things are connected, and in that, there is hope and faith that perhaps all remains eternal.

Through his still and installation-based video artwork, Youki Hirakawa explores a mysterious and immeasurable sense of time, loss and longing inspired by archaeology, geology and alchemy. His monochromatic imagery is imbued with a melancholic quality, reconnecting a fragile past with a vivid present casting questions over the future. He creates a kind of video-poetry which summons the voice of the lost. Deftly contrasting static imagery or narratives contained within the subject, resuscitating sensibilities that may have since been obscured, primarily through progressive human activity. and moving footage, his work recalls its basis in frames per second, through which Hirakawa questions and in turn plays with our sense of time. Hirakawa constructs his artworks as if to reveal hidden memories or narratives contained within the subject, resuscitating sensibilities that may have since been obscured, primarily through progressive human activity.

Hirakawa is a Japanese contemporary artist born in Nagoya, Japan in 1983. He currently lives and works in Toyota, Japan, following a long residency in Berlin, Germany. He was invited to show at the ‘48th International Film Festival Rotterdam’ and ‘65th International Short Film Festival Oberhausen’ in 2019 and has held solo exhibitions internationally, including Ando Gallery, Tokyo, Double Square Gallery, Taipei, Kunstlerhaus Bethanien, Berlin, Kunstkraftwerk, Leipzig, Minokamo City Museum, Japan. Hirakawa has also been invited to exhibit in international art festivals including Digital Art Festival Taipei 2017, International Contemporary Art Festival Kaunas in 2016, Sapporo International Art Festival 2014 and Aichi Triennale 2013. His inaugural solo exhibition ‘Secret Fire’ at Anima Mundi was held in 2016 and his follow up ‘A River Under Water’ in 2018. In 2017 he was finalist of Sovereign Asian Art Prize. Works are held in numerous public and private collections.

Artist : Phoebe Cummings
Title : Paleozoic Bouquet
Medium : oil on acrylic on panel
Size : 85 x 85 cm

Phoebe Cummings works predominantly using unfired clay to make poetic and performative sculptures and installations that emphasise materiality, fragility, time, creation and decay. Cummings’ impressive interventions are often constructed directly on site, allowing an instinctive development of tensions between object and location. Cummings questions what we will carry forward into the future by producing intricate, hand made and exquisitely delicate sculptures based on ancient plants and primitive ritual, imbued with a sense of magic and mysticism. Drawing together elements of English Paganism as well as the aesthetic excess of Baroque and Rococo design, the resultant objects could be considered as dystopian ornaments of a future anthropology or fragile relics of an almost forgotten past.

Cummings is a British artist born in Walsall, England and currently resides in Stafford. Cummings studied ceramics at Brighton University in 2002 before completing an MA in ceramics and glass at the Royal College of Art in 2005. She has undertaken a number of international artist residencies including a six month residency at the Victoria & Albert Museum in 2010. In 2017 she won first place at the inaugural Woman’s Hour Craft Prize with work exhibited at the V&A Museum, before touring to venues around the UK. Cummings was selected as the winner of the British Ceramics Biennial Award in 2011 and awarded a ceramics fellowship at London’s Camden Arts Centre (2012–13). ‘Supernatural’ was her first solo exhibition at Anima-Mundi. In addition, Cummings’ work has been featured in numerous group exhibitions, including ‘60|40 Starting Point Series’ at Siobhan Davies Studios, London, ‘Formed Thoughts’ at Jerwood Space, London; and ‘Swept Away: Dust, Ashes, and Dirt in Contemporary Art and Design’ at the Museum of Arts and Design, New York. In 2013, she had a solo show at the University of Hawaii Art Gallery in Honolulu and The Newlyn Art Gallery.

Artist : Mat Chivers
Title : (It’s Not) Black & White (Brazil)
Medium : recycled & cast sea salt
Dimensions : 110 x 150 cm


Drawing from environmental data that maps the moment of climate crisis that we are now in, yearly graphs of ocean wave heights from three randomly selected locations have been robotically milled into slabs of cast sea-salt recycled by desalination plants. Each horizontal line depicts one year: January at left to December at right. The first year of data at the top of the panel marks the moment when accurate measurements began to be transmitted back to earth from scanning orbital satellites. This specific work presents data from Itamambuca, Brazil. Wave generating swells are driven by atmospheric storm cells which are themselves a result of thermal flux in ocean currents. Wave height data is a key marker for understanding how climate change may be affecting extreme weather events around the planet.

The work of British artist Mat Chivers looks at some of the fundamental phenomena that drive our thoughts and actions. He explores ideas relating to perception, evolutionary process, ecology and ethics by bringing traditional analogue approaches to making into counterpoint with state of the art digital technologies. Chivers has works in numerous private and public collections including Oxford University Mathematical Institute, UK and Fondazione Henraux, Italy. Solo exhibitions include ‘Migrations’ at Arsenal Art Contemporain Montréal, Canada and Musée d’art de Joliette, Canada; ‘Harmonic Distortion’ at PM/AM, London, UK, ‘Altered State’s at Hallmark House, Johannesburg, South Africa and ‘Syzygy’ at Anima Mundi. Group exhibitions include The New States of Being at Centre d’Exposition de l’Université de Montréal, Canada; A Place In Time at Nirox, Johannesburg, South Africa; Glasstress: White Light/White Heat at Pallazzo Cavalli Franchetti for the 55th Venice Biennale, Italy and The Knowledge at The Gervasuti Foundation for the 54th Venice Biennale, Italy.

Artist : Mark Jenkin & Bicep
Title : Apricots
Medium : single channel video with sound



Bafta Award winning Mark Jenkin’s glorious hand made film was produced to accompany electronic duo, Bicep’s sound track ‘Apricots’. The film provides an elemental, pantheist meditation on the interconnectedness between humanity and nature.

Born and based in Cornwall, Mark Jenkin works in digital and analogue mediums and hand-processed super8/16mm film. Jenkin is predominately interested in experimentation within the form. His work is involved with exploring the contemporary possibilities of Expanded Cinema and the moving image within the gallery space. He is based at the Newlyn School of Art where he has a studio/lab, and as a member of the Newlyn Society of Artists, his work has been exhibited in the UK and Europe. He is the author of the Silent Landscape Dancing Grain 13 (SLDG13) Film Manifesto, which promotes the aesthetic and practical benefits of handmade celluloid work and has also produced film elements for the West End, Kneehigh Theatre and Wild Works. In 2002 he was awarded the Frank Copplestone First Time Director Award at The Celtic Film Festival for his film Golden Burnand. He is also a Royal Television Society Award Winner for his documentary, My Name is Zac and has written and directed 3 minimalist narrative feature films that have been exhibited internationally. His most recent feature film Bait (2019), was distributed theatrically by the BFI, for which Mark won the BAFTA Outstanding Debut by a British Writer, Director or Producer in 2020 among many other international accolades. His most recent feature film Enys Men, began shooting in 2021 and is produced in partnership with Film4.

Artist : Tim Shaw
Title : Taking Back Control
Medium : bronze (edition of 9)
Size : height 28 cm

Tim Shaw RA’s sculpture is often dualistic, incorporating current affairs, societal complexity and human conflict with ancient, mythical, metaphysical and primal concerns. Shaw’s powerful oeuvre connects these elements to create wider, timeless portraits of humanity. The tension between ancient past and a prosaic presence, between solidity and breakdown, becomes an organic part of his worldview, whether he’s looking at human transgression or the enlightenment of primitive ritual.

Shaw is a British artist, born in Belfast, he currently lives in Cornwall. He was elected an Academician at The Royal Academy in 2013 and made a Fellow of The Royal British Society of Sculptors and a Fellow of Falmouth University the same year. Shaw has had a number of significant solo shows throughout the UK, Ireland and internationally. Most recently the major public solo exhibitions ‘What Remains’ and ‘Something is Not Quite Right’ a collaboration between The Exchange and Anima-Mundi, ‘Mother the Air is Blue, The Air is Dangerous’ was held in the F.E McWilliam Gallery in Northern Ireland, ‘Black Smoke Rising’ toured from Mac Birmingham to Aberystwyth Arts Centre and Back From the Front presents: Shock and Awe – Contemporary Artists at War and Peace at the Royal West of England Academy. He has undertaken a number of public commissions including 'The Rites of Dionysus' for The Eden Project, 'The Minotaur' for The Royal Opera House and 'The Drummer' for Lemon Quay, Truro. A more political side to his work became evident in a number of sculptures responding to the issues of terrorism and The Iraq War. 'Tank on Fire' was awarded the selectors prize at the inaugural Threadneedle Prize in 2008 and the installation 'Casting a Dark Democracy' was reviewed in 2008 by Jackie Wullschlager of The Financial Times as ‘The most politically charged yet poetically resonant new work on show in London’. Shaw has been supported by the Kappatos Athens Art Residency, The Kenneth Armitage Foundation, The British School of Athens,The Delfina Studio Trust through residencies in Greece, Spain and a fellowship in London. Most recently as an Artist Fellow at the Kate Hamburger Centre for Advance Study in the Humanities of 'Law and Culture' In Bonn, Germany where he began work on ’The Birth of Breakdown Clown’ an existential sculptural work utilising sculpture, robotics and AI.

Artist : Gabriel Tendai Choto
Title : Kumunda
Medium : oil and etching on paper
Size : 22 x 46 cm

Taken from an African source image, ‘Kumunda’ is a Shona word which translates to ‘In the Field’. The piece references the artists concern for a now fragile way of life.

Gabriel Tendai Choto’s artwork combines the twin disciplines of printmaking and painting. Through his singular technique Choto seeks new pathways into the painted image by taking cues from the surface quality produced by the print making process. His evolving, experimental practice involves layering painted areas of naturalism over the delicate compositional architecture of etching, resulting in paintings where physical presence and absence imply a metaphoric liminal state.Sensitive and intimate, these images include close family members, depicting quiet moments of contemplation or affectionate domestic scenes taken from old photographs, progressing in to self portraits where through constructed situations the artist examines his own identity. Choto’s intimate paintings draw on themes of home, pride, identity diaspora, change and cultural fragility.

Choto was born in 1995 in Harare, Zimbabwe. He was raised in Bradford, Yorkshire and currently lives and works inLondon. After completing his Diploma in Art and Design at Leeds Arts University in 2012, Choto gained a BAFA in Drawingfrom Camberwell College of Art (UAL), London, in 2014 and more recently has completed an MFA at Central St Martins, London. Selected group exhibitions include FBA Futures, Mall Galleries, London, UK (2018); Flock, GX Gallery, London,UK (2017); Blxckout Revolution: The Exhibition, 198 Gallery, London, UK (2017); BAME, Hotel Elephant Gallery, London, UK (2016); and Long Live the New Flesh, Tower Gallery, London, UK (2015). In 2018, Choto was selected for the Clyde & Co Art Award. Choto’s debut solo exhibition at Anima Mundi featured in 2021 and most recently he has been personally invited by Yinka Shonibare to submit for the 2021 RA Summer Exhibition.

Artist : Marcus Harvey
Title : Sand Castle
Medium : stoneware ceramic
Size : 25 x 20 x 20 cm

Marcus Harvey makes highly worked figurative paintings and sculptures. He seeks out imagery that is emblematic of a brutish but proud Britishness. Often his imagery is problematic or controversial, his most infamous work perhaps being ‘Myra’ which was exhibited as part of the groundbreaking YBA exhibition ‘Sensation’ in 1997. Unprecedented international media attention ensued as the painting had been created with repeated child’s handprints in the image of the infamous child-murderer Myra Hindley. This chilling painting derived much of its potency from the iconography of photographic image so engrained in the British Psyche through years of obsessive media reproduction. Recently, Harvey has started to work extensively with ceramics, forging motifs and emblems of Britishness into collaged portraits of historical British figures of foes from history, from Nelson to Margaret Thatcher and from Napoleon to Tony Blair. He works the imagery, handling the clay in a battle to find its form despite multiple firings and emerging knowledge on behalf of the artist with regards to glazing and firing technique. The result is tough but humorous sculpture, unapologetic and brash, political yet ambiguous, considered and painterly.

Harvey was born in Leeds in 1963 and lives and works in London. He graduated from Goldsmith’s College in the late1980’s along with the other members of the group now known as Young British Artists (YBAs). He has participated in several important group exhibitions such as ‘Some Went Mad, Some Ran Away’, Serpentine Gallery, London (1994) and ‘Sensation’, Royal Academy, London (1997). Harvey’s solo exhibitions include White Cube, London (1994), TanyaBonakdar, New York (1995), Mary Boone, Gallery, New York (2002), Galleria Marabini, Bologna (2005), ‘Inselaffe’ – Jerwood Gallery (2016). His works are held in numerous international collections including the Stedelijk Museum,Amsterdam; The British Council Collection, London; Berado Museum in lisbon, and prominent private collections includingthe “Murder Me” collection of artist Damien Hirst, UK; the Saatchi Collection, UK; the Logan Collection, San Francisco; the Burger Collection, Hong Kong; and the Seavest Collection.

Artist : Shiri Mordechay
Title : Untitled 1
Medium : watercolour & ink on paper
Size : 56 x 76 cm

Shiri Mordechay’s extraordinary painted works have a cinematic quality, where expansive imagery seemingly passes through time and space, like fleeting scenes in a film or interconnected snippets of dream. Both 2d and 3d painted installation works are made piece by piece, where a narrative unfolds, like a trail of instinct. Imagery seems to arrive with fluidity, through the artist as conduit, moving within an unguarded realm, seemingly free of structured morality or logical confine, conjuring what Julia Kristeva calls an “oceanic feeling”. Mordechay’s form of ambiguous realism is revealed through an intuitive rendering of unmediated internal psychology or event, which through her translation offers up a wider metaphysical and perhaps spiritual context. She attains a preservation of the enigma of the unconscious, where constructed ego is eroded or absorbed into something more widely connected, not necessarily at one with beauty, yet seductive none the less, like a forbidden fruit promising to lure us towards darkness or light. As expressed by Alfred Lord Tennyson, Mordechay paints an inner and outer world where nature is “red in tooth and claw”. Acclaimed American art critic Jerry Saltz wrote “Shiri Mordechay gives us a topsy-turvy world of mundane and mad images…It’s Charles Adams meets Edgar Allen Poe meets Animal Planet. Mordechay never allows us to look at any one thing; chaos and tumult reign.”

Mordechay was born in Israel and raised in Nigeria. She received her BFA from the San Francisco Art Institute and an MFA from School of Visual Arts in New York, where she now lives and works. In 2013, he was named as one of “25 Artists to Watch & Collect” by Artvoices Magazine. Solo exhibitions have occurred in San Francisco, Los Angeles, New York and Italy.

Artist : Shiri Mordechay
Title : Untitled
Medium : watercolour & ink on paper
Size : 56 x 76 cm

Shiri Mordechay’s extraordinary painted works have a cinematic quality, where expansive imagery seemingly passes through time and space, like fleeting scenes in a film or interconnected snippets of dream. Both 2d and 3d painted installation works are made piece by piece, where a narrative unfolds, like a trail of instinct. Imagery seems to arrive with fluidity, through the artist as conduit, moving within an unguarded realm, seemingly free of structured morality or logical confine, conjuring what Julia Kristeva calls an “oceanic feeling”. Mordechay’s form of ambiguous realism is revealed through an intuitive rendering of unmediated internal psychology or event, which through her translation offers up a wider metaphysical and perhaps spiritual context. She attains a preservation of the enigma of the unconscious, where constructed ego is eroded or absorbed into something more widely connected, not necessarily at one with beauty, yet seductive none the less, like a forbidden fruit promising to lure us towards darkness or light. As expressed by Alfred Lord Tennyson, Mordechay paints an inner and outer world where nature is “red in tooth and claw”. Acclaimed American art critic Jerry Saltz wrote “Shiri Mordechay gives us a topsy-turvy world of mundane and mad images…It’s Charles Adams meets Edgar Allen Poe meets Animal Planet. Mordechay never allows us to look at any one thing; chaos and tumult reign.”

Mordechay was born in Israel and raised in Nigeria. She received her BFA from the San Francisco Art Institute and an MFA from School of Visual Arts in New York, where she now lives and works. In 2013, he was named as one of “25 Artists to Watch & Collect” by Artvoices Magazine. Solo exhibitions have occurred in San Francisco, Los Angeles, New York and Italy.

Artist : Jim Carter
Title : The Ancients
Medium : wood, deer, sheep & badger bone, cow tooth, leaves, soil, agricultural waste, papier-mâché
Size : 12 x 40 / 12 x 55 cm

“That the Earth was a living being was a conception divine in size as in simplicity, and that the Gods and mythological figures had been projections of her consciousness—this thought ran with a magnificent new thunder about his mind. It was overwhelming, beautiful as Heaven and as gracious. He saw the ancient shapes of myth and legend still alive in some gorgeous garden of the primal world, a corner too remote for humanity to have yet stained it with their trail of uglier life. He understood in quite a new way, at last, those deep primitive longings that hitherto had vainly craved their full acknowledgment. It meant that he lay so close to the Earth that he felt her pulses as his own. The idea stormed his belief.”

“Within some ancient fold of the Earth’s dream-consciousness they both lay caught. In some mighty Dream of her planetary Spirit, dim, immense, slow-moving, they played their parts of wonder. Already they lay close enough to share the currents of her subconscious activities. And the dream, as she turned in her vast, spatial sleep, was a dream of a time long gone.”

Algernon Blackwood, ‘The Centaur’

Jim Carter likes to tell animal stories through words, sculpture and ritual. Stories about wildland and wildlife and a deeper sense of their mystery, power and vulnerability in relation to humankind. Uneasy or tragic, irrational or obscure, his stories express a real world of suffering and transcendence: making sculpture from organic materials as a means to express advocacy, wonder or commemoration; shifting to the written word as a way to enter emotional and numinous spaces of memory and dream. Carter wants to be honest in negotiating the complex experiences that arise in relation to a time of climate emergency: there is anger, fear and sorrow, but also opportunities for magic, fertility and renewal.

Jim Carter was born in Worcestershire in 1967. He received an MA with distinction in Art and Environment from Falmouth University and an MSc Award in Ecopsychology, Centre For Human Ecology. Carter’s work has appeared in The Dark Mountain, About Place Journal, Unpsychology and Earthlines magazine.

Artist : John Robinson
Title : The Triumph of Death (for Phil Robinson)
Medium : oil on canvas
Size : 160 x 200 cm

John Robinson’s epic painting references the ‘Triumph of Death’ by Pieter Bruegel painted in 1562. Made in response to the growing panic surrounding the Covid pandemic, Robinson lost his father to the disease midway through the making of the work embuing it with personal pertinence.

Robinson’s technical prowess could be seen to be shared with the great pantheon of masters of the 17th and 18th centuries including artists such as Diego Velazquez and Francisco Goya with a developing unguarded focus on self portraiture adopted by the likes of Rembrandt Van Rijn or more recently Frida Kahlo. However Robinson’s figurative works offer a contemporary subversion of the rich tradition of self portraiture. Somber protagonists dominate the canvas, usually presented in theatrical situations which barely mask a more prosaic ‘kitchen sink’ vulnerability. They are often, simultaneously absurdly comic and psychologically revealing. Robinson’s process often involves private performance, where his actions are then exquisitely rendered, in oil on canvas. For Robinson these paintings embrace personal concern, disclosure and catharsis, for the voyeur the experience appears both elaborately grandiose and awkwardly revealing.

Robinson was born in Worcester, UK where he still resides. He studied Fine Art at Falmouth College of Arts, spending most of the time whilst there skipping tutorials to travel to Plymouth to be taught by the notorious and idiosyncratic painter Robert Lenkiewicz. Robinson was awarded the Richard Ford Scholarship by the Royal Academy of Arts and spent a summer as artist in residence at the Prado Museum Madrid absorbing the works of Velazquez and Goya. He stayed in Madrid for a further decade broken by a year at Central Saint Martins on a Masters degree in fine art. He later developed his duel use of ‘the painting’ as revelation and disguise; ‘self portrait as (other…)’. Robinson has exhibited internationally. He has won the Peter Spicer Award for Excellence in Creative Arts (First Place), Richard Ford Award for Painting, Royal Academy, London (First Place), South Square Trust Scholarship for MA study at Byam Shaw school of Art, Central Saint Martins, London, Alfa Romeo Award Art (‘Best of show nominee’) Madrid, Spain, Premio de Pintura Focus-Abengoa, Seville, Spain (Winner) and the Hauser and Wirth Prize, Hauser and Wirth Somerset UK, (First Prize). Works are held in notable collections including University of the Arts London permanent collection, London, UK, Nicolas & Maxinne Leslau collection, London, UK, Focus-Abengoa Foundation, Seville, Spain, Coldwell Banker, Madrid, Spain, Falmouth College of Arts Library, Falmouth UK, Museo del Ferrocarril, Madrid, Spain, Stedlijk Museum Amsterdam Netherlands, Wellcome Collection London UK, British Council Collection UK.

Artist : Richard Nott 
Title : Eolith
Medium : mixed media on panel
Size : 90 x 90 cm

An Eolith is a flint like stone, thought by some to be artifacts - perhaps the earliest stone tools made through human manipulation of nature to serve need. Others believe them to be geofacts produced by nature without mans intervension. This ambiguous history perhaps alludes to the potential for human interaction to interpose with a wider geology of the earth. Richard Nott works with environmentally precarious, industrial materials, like polystyrene, resins and bitumen alongside emulsions and varnishes, building them up layer upon layer, into a textural palimpsest, before scraping or burning them back to fuse and reveal what lies beneath the superficial shell. Viewing Nott’s artwork is witnessing a protracted collision of creative and destructive processes where an evolution of unsentimental matter is exposed, concealed, exposed, concealed, continuously. This fusion contemplates a cycle of existence which becomes imbued in the work, but a cycle where toxicity becomes ingrained in the geology and part of its future organic finger print. His objective is to create a natural object that evolves like a living thing with truth and imperfection reflecting how impact fuses with outcome. Nott’s core motivation is to reflect, not in a beginning and end but a journey where genesis leads to dissolution, and on once again to genesis - something eternal akin to alchemy.

Nott is a British artist, who currently lives and works in west Cornwall. He gained his Fine Art degree at Lancashire Polytechnic and his MA in fine art at Reading University. In 1985 he worked as an assistant to Andy Goldsworthy on site-specific sculptures in the Lake District. He was gallery assistant at the Royal Academy from 1986-7 and at Oldham Art Gallery from 1991-2. He won the South West Arts Visual Arts and Photography Award in 1994. He gained a residency atthe 12th International Weeks of Painting in Slovenia. Exhibitions have been extensive and international notable includednumerous solo exhibitions at Anima Mundi over a long and fruitful working relationship, ‘Art Now Cornwall’ at the Tate St Ives and Chashama, Avenue of the America’s, NYC.

Artist : Andrew Litten
Title : Praying
Medium : bronze (edition 5)
Size : 45 x 24 x 12 cm

Andrew Litten’s dynamic and gestural figurative artworks express a strong interest in the universal complexity of everyday existence. Dealing with humanistic themes such as love, sensuality, fear, anger, loss, nostalgia, mundanity, personal growth and perceived identity normality or disturbance. Works are created with an unguarded, empathetic attitude, like so many expressionistic artists, a rawness of approach combined with an often viscous application of paint is also key to the extreme experience felt from the work. Gesture and nuance inspire extreme emotive reading, perhaps subversive, tender, passionate, ambivalent, malevolent or compassionate, our response becomes one of allure or repulsion.

Andrew Litten is a British artist, born in Aylesbury, Buckinghamshire in 1970. He currently works from his studio in Fowey, Cornwall. He is a self-taught artist leaving art college as a teenager having found it to be too restrictive to his aspired method of working. For a decade he created mostly small-scale works using humble domestic or found materials (including envelopes and assembled furniture parts). The work made at this time deliberately challenged ideas of art elitism and art as commodity. He then moved to Cornwall in2001 and chose to begin exhibiting Early success came when his work was included in an exhibition titled ‘Nudes’ in New York City, (along with Jacob Epstein and Pierre-Auguste Renoir), where his work was highlighted and reviewed by the New York Times. Shortly after he had four consecutive solo exhibitions at Goldifsh Fine Arts in Penzance, Cornwall. Other notable exhibitions included ‘Move’ at Vyner Street, London, during Frieze Art Week 2007, where his work ‘Dog Breeder’, created as a twisted and emphatic anti-art statement, was exhibited. He was also included in ‘No Soul For Sale’ at Tate Modern Turbine Hall, London in 2010. In 2012 he held a major solo exhibition at Millennium in St Ives, Cornwall and that year was given a guest solo exhibition at L13 Light Industrial Workshop, London. He has also held large-scale solo exhibitions at Spike Island and Motorcade FlashParade in Bristol. Ordinary Bodies, Ordinary Bones was conceived with support from The Arts Council, UK and will be exhibited at Anima Mundi in 2018. Works have been included in numerous international curated mixed exhibitions in Berlin, Dublin, Siena, Milwaukee and New York City and in Venice during the 54th Biennale. Most recently paintings have been exhibited in four major museums in China. Andrew Litten paintings feature in numerous international private and public collections.

Artist : Andrew Litten
Title : Head of a Dying Man
Medium : oil on canvas
Size : 90 x 90 cm

Andrew Litten’s dynamic and gestural figurative paintings express a strong interest in the universal complexity of everyday existence. Dealing with humanistic themes such as love, sensuality, fear, anger, loss, nostalgia, mundanity, personal growth and perceived identity normality or disturbance. Works are created with an unguarded, empathetic attitude, like so many expressionistic artists, a rawness of approach combined with an often viscous application of paint is also key to the extreme experience felt from the work. Gesture and nuance inspire extreme emotive reading, perhaps subversive, tender, passionate, ambivalent, malevolent or compassionate, our response becomes one of allure or repulsion.

Andrew Litten is a British artist, born in Aylesbury, Buckinghamshire in 1970. He currently works from his studio in Fowey, Cornwall. He is a self-taught artist leaving art college as a teenager having found it to be too restrictive to his aspired method of working. For a decade he created mostly small-scale works using humble domestic or found materials (including envelopes and assembled furniture parts). The work made at this time deliberately challenged ideas of art elitism and art as commodity. He then moved to Cornwall in 2001 and chose to begin exhibiting Early success came when his work was included in an exhibition titled ‘Nudes’ in New York City, (along with Jacob Epstein and Pierre-Auguste Renoir), where his work was highlighted and reviewed by the New York Times. Shortly after he had four consecutive solo exhibitions at Goldifsh Fine Arts in Penzance, Cornwall. Other notable exhibitions included ‘Move’ at Vyner Street, London, during Frieze Art Week 2007, where his work ‘Dog Breeder’, created as a twisted and emphatic anti-art statement, was exhibited. He was also included in ‘No Soul For Sale’ at Tate Modern Turbine Hall, London in 2010. In 2012 he held a major solo exhibition at Millennium in St Ives, Cornwall and that year was given a guest solo exhibition at L13 Light Industrial Workshop, London. He has also held large-scale solo exhibitions at Spike Island and Motorcade FlashParade in Bristol. Ordinary Bodies, Ordinary Bones was conceived with support from The Arts Council, UK and will be exhibited at Anima Mundi in 2018. Works have been included in numerous international curated mixed exhibitions in Berlin, Dublin, Siena, Milwaukee and New York City and in Venice during the 54th Biennale. Most recently paintings have been exhibited in four major museums in China. Andrew Litten paintings feature in numerous international private and public collections.

Artist : Arthur Lanyon
Title : Kronos
Medium : oil, acrylic, charcoal, watercolour on panel
Size : 41 x 30 cm

Arthur Lanyon paintings combine intuitive figurative motifs with an emotive, gestural, abstracted language. His energetic works are sited on a physical and metaphysical cross roads, like a belay between numerous visual and emotional pinnacles. They offer a progressive link between the outside world, the inner architecture of the brain, altered states of consciousness, memory and the unencumbered essence of child’s drawing.

Arthur Lanyon is a British artist born in Leicester, England in 1985. He lives and works from a studio near Penzance,Cornwall. Born in to an artistic family, his father was the painter Matthew Lanyon and his grandfather the celebrated, influential and world renowned modernist painter Peter Lanyon. He won the Hans Brinker Painting Award in Amsterdam in 2007 and gained a first class degree in Fine Art from Cardiff University in 2008. Upon graduating he was featured in Saatchi’s ‘New Sensations’ exhibition. In 2014, his work was in the long-list for the Aesthetica Art Prize and was included in the award’s published anthology. His debut Anima Mundi solo exhibition ‘Return to Whale’ opened in 2016, which was followed by ‘White Chalk Lines in 2018. His latest exhibition ‘Arcade Laundry’ opened in 2020. Works have been exhibited extensively, notably including Untitled Art Fair in Miami; ZonaMaco, Mexico City; the Saatchi Gallery London; The House of St Barnabas, London; CGK, Copenhagen; Tat Art, Barcelona and Herrick Gallery, Mayfair. Arthur Lanyon paintings are held in private collections worldwide.

Artist : Arthur Lanyon
Title : Wishbone
Medium : oil, acrylic, charcoal, watercolour on panel
Size : 41 x 30 cm

Arthur Lanyon paintings combine intuitive figurative motifs with an emotive, gestural, abstracted language. His energetic works are sited on a physical and metaphysical cross roads, like a belay between numerous visual and emotional pinnacles. They offer a progressive link between the outside world, the inner architecture of the brain, altered states of consciousness, memory and the unencumbered essence of child’s drawing.

Arthur Lanyon is a British artist born in Leicester, England in 1985. He lives and works from a studio near Penzance,Cornwall. Born in to an artistic family, his father was the painter Matthew Lanyon and his grandfather the celebrated, influential and world renowned modernist painter Peter Lanyon. He won the Hans Brinker Painting Award in Amsterdam in 2007 and gained a first class degree in Fine Art from Cardiff University in 2008. Upon graduating he was featured in Saatchi’s ‘New Sensations’ exhibition. In 2014, his work was in the long-list for the Aesthetica Art Prize and was included in the award’s published anthology. His debut Anima Mundi solo exhibition ‘Return to Whale’ opened in 2016, which was followed by ‘White Chalk Lines in 2018. His latest exhibition ‘Arcade Laundry’ opened in 2020. Works have been exhibited extensively, notably including Untitled Art Fair in Miami; ZonaMaco, Mexico City; the Saatchi Gallery London; The House of St Barnabas, London; CGK, Copenhagen; Tat Art, Barcelona and Herrick Gallery, Mayfair. Arthur Lanyon paintings are held in private collections worldwide.

Artist : Rebecca Harper
Title : Willow Wallow
Medium : acrylic on canvas
Size : 170 x 220 cm

Much of Rebecca Harper’s work has revealed itself through a Diasporic consciousness which can often involve a multiplicity of belonging and a sense of difference, often one of ‘otherness’ and displacement. The identity of the displaced positioning is a paradox between location and dislocation, out of place everywhere and not completely anywhere. Generally, the work frames expressions of ‘being’ and manifests itself within an unfolding, wondering, allegoric commentary on the locations that she inhabits and those which inhabit her.

Recent work explores a cast of reoccurring characters that rotate around the outskirts of the house that she grew up in, where she also found herself locked down during Covid. This work is a part of a body of work that acknowledges the human and worldly capacity to live at the edge of the precipice. The characters are never seen as portraits as such, more like actors that play a role, filling in for particular people, as they fill a stage. As Rebecca says of the figure who resembles herself; “It feels like perhaps this woman, has almost become a guiding spirit of myself, one of vulnerability and strength in the dealings of uncertainty, instability loss, and grief. She shows up reliably again and again during terrible turbulence.”

Harper was born in London in 1989, where she continues to live and work. She studied at UWE Bristol then The Royal Drawing School and Turps Art School (Postgraduate’s). Rebecca was Artist in Residence at The Santozium Museum, Santorini, in summer 2019, and Artist in Residence for the Ryder Project Space at A.P.T Studios, Deptford in 2018-19 before becoming a studio and committee Member in 2019. She was winner of the ACS Studio Prize in 2018. Chameleon, her debut solo show at Anima Mundi met with great acclaim including a review in the FT by Jackie Wullshlager. Most recently Rebecca was selected for The John Moore’s Painting Prize 2021, and previously selected for Bloomberg New Contemporaries in 2018 at South London Gallery, Other curated shows include Huxley Parlour, Public Gallery, The Royal Academy Summer Show, Christies London and NYC, Flowers Gallery’, Paul Stolper Gallery, Turps Art Gallery and Arusha Gallery. Her work is on long term display in the Albright Collection at Maddox Street Club in London curated by Beth Greenacre and at the Santozeum Museum in Santorini. Harper is represented in many public and private collections internationally including the Ullens and the Royal Collections.

Artist : Laura Ford
Title : Blue Girl with Demons
Medium : oil, acrylic, charcoal, watercolour on panel
Size : 41 x 30 cm


Laura Ford’s sculptures are faithful representations, of fantasy, often with bitter sweet and menacing qualities mixed with tenderness, providing us with acutely graphic renditions of human emotion, mental and physical. She utilises an acute observation of the human condition to engage with personal narrative and wider social and political issues. Her imagery is all about remembering and giving that memory clarity.

Born in Cardiff and currently living near Chichester, UK, Ford studied at Bath Academy of Art from 1978-82 and at Chelsea School of Art from 1982-83. She was included in the British Art Show 5, 2000 and represented Wales in the 51st Venice Biennale in 2005. She has had numerous solo and group shows around the world including 2012 ‘Days of Judgment’, Kulturzentrum Englische Kirche , Galerie Scheffel, Bad Homburg and at The New Art Centre, Roche Court, 2011 Frederik Meijer Gardens & Sculpture Park, Grand Rapids, USA, 2007, ‘Rag and Bone’, Turner Contemporary, Margate, 2006 ‘Armour Boys’, Royal Scottish Academy, Edinburgh,2005, Venice Biennale for Wales, 2004, ‘Wreckers’, Beaconsfield, 2004 ‘Into My World: Recent British Sculpture’, AldrichMuseum of Contemporary Art in Connecticut, USA, London, 2003, ‘Headthinkers’, Houldsworth Gallery, Cork Street, 2002, ‘The Great Indoors’, Salamanca Centre of Contemporary Art, Spain, 1998, Camden Arts Centre, London. Her work is represented in many public collections including; Tate, The Victoria and Albert Museum, Government Art Collection,Potteries Museum, National Museums and Gallery of Wales; Museum of Modern Art, University of Iowa; Arts Council of Great Britain; Contemporary Art Society; Unilever plc; Penguin Books; Oldham Art Gallery, The New Art Gallery Walsall,The Glynn Vivian Art Gallery, The Meijier Gardens, Grand Rapids USA and The Gateway Foundation, St. Louis, as well as numerous private collections.

Artist : David Kim Whittaker
Title : Lockdown Portrait : The Clear Message
Medium : oil on acrylic on panel
Size : 85 x 85 cm

Most of David Kim Whittaker’s paintings are based upon a metaphysical interpretation of the human head. These portrait, portals, are often ambiguous, with the aim of representing the totality of the human condition - both the universal and the empathetic alongside personal experience. The works often juggle dual states of inner and outer calm and conflict, offering a glimpse of simultaneous strength and fragility, conscious and subconscious, masculine and feminine. The paintings express Whittaker’s constant focus on an attempt to express something far greater than oneself. Recent works depict the artists deep sensitivity and increasing unease when confronted with the compounding global tensions of this particlar moment. A dual reflection of hope and warning stares back at us from the frame.

Whittaker is a British artist born in Cornwall where he still resides. Exhibitions have been held internationally, notably including a major solo exhibition at the prestigious Fondazione Mudima in Milan in 2017. Works are in numerous museum collections, art foundations and international private collections. Whittaker was further acknowledged in 2011 as the recipient of the Towry Award (First Prize) at the National Open Art Competition.

Artist : Joy Wolfenden Brown
Title : Float
Medium : oil on paper
Size : 22 x 46 cm

Joy Wolfenden Brown’s intimate oil paintings feel hauntingly familiar possessing a raw, emotional, honesty. She captures fleeting fragments of memory, moments in time where the inherent vulnerability of the figures depicted, often in isolation, is palpable. These are lovingly yet spontaneously executed reflections on the human condition, which have an unnervingly, yet simultaneously comforting, unguarded quality.

Joy Wolfenden Brown is a British artist born in Stamford, Lincolnshire. She currently lives in Bude, North Cornwall. She graduated from Leeds University then completed a post-graduate diploma in Art Therapy at Hertfordshire College of Art & Design which she worked as an for ten years before moving to Cornwall in 1999. Since then she has had numerous solo exhibitions and was the First Prize Winner in The National Open Art Competition, 2012. She was also awarded the Somerville Gallery painting prize in 2003 and first prizewinner at the Sherborne Open in 2007 and the Revolver Prize at The RWA in 2019. Works were acquired by the Anthony Pettullo Outsider Art Collection in Milwaukee with further works held in collections worldwide.

Artist : Paul Benney
Title : Dissembler 1 & 2
Medium : oil on canvas
Size : 25 x 30 cm each

Paul Benney is a multi-disciplined artist whose oeuvre moves beyond clear and definitive categorization although his work could be seen to continue the strong tradition of ‘British Mysticism’ championed by the likes of Samuel Palmer and William Blake. Benney is a polymath, the primary mode of expression being paint, which he handles with profound technical dexterity, but to add to this he is also a goldsmith (skills learned from his father, the celebrated goldsmith Gerald Benney), a sculptor, film maker, a musician and also a perfumer, all of which he is able to carry out with notable esoteric ability and accomplishment.

Benney is a British artist born in London. He currently lives and works in Suffolk. Benney rose to international prominence as a member of the Soho and East Village Neo-Expressionist group, whilst living and working in New York City in the1980s where he worked and exhibited alongside peers Marylyn Minter, Jean-Michel Basquiat and David Wojnarovicz among the many other others who made up the exploding 80s NY art scene. Despite living and working in this extraordinary creative environment Benney’s painting maintained a uniquely English sensibility. His paintings are notably represented in a plethora of public collections including the Metropolitan Museum of Art in New York, The Brooklyn Museum, The National Gallery of Australia and The National Portrait Gallery in London, The Royal Collection and The Eli Broad Foundation. He has exhibited in eight BP Portrait Award Exhibitions and twice won the BP Visitors’ Choice Award. Benney’s portrait subjects have included HM Queen Elizabeth II, Sir Mick Jagger, John Paul Getty III, 7th Marquess of Bath, The State Portrait for Israel, Lord Rothschild, as well as Ben Barnes for the portrait in the feature film ‘A Portrait of Dorian Grey’ in 2008. Benney was invited to be resident artist at Somerset House in 2010. During his fiveyear residency he held the exhibition ‘Night Paintings’ in 2012 which explored themes that deal more with the subconscious and metaphysical world and drew over 15,000 visitors. In 2017 his epic painting and holosonic sound installation ‘Speaking in Tongues’ was a prominent feature of the Venice Biennale, located at Chiesa San Gallo, just off St Marks’s Square. The paintings from ‘Speaking In Tongues’ were subsequently purchased by a significant US art foundation based in California for permanent exhibition.

Artist : Paul Benney
Title : Dissembler 3 & 4
Medium : oil on canvas
Size : 25 x 30 cm each

Paul Benney is a multi-disciplined artist whose oeuvre moves beyond clear and definitive categorization although his work could be seen to continue the strong tradition of ‘British Mysticism’ championed by the likes of Samuel Palmer and William Blake. Benney is a polymath, the primary mode of expression being paint, which he handles with profound technical dexterity, but to add to this he is also a goldsmith (skills learned from his father, the celebrated goldsmith Gerald Benney), a sculptor, film maker, a musician and also a perfumer, all of which he is able to carry out with notable esoteric ability and accomplishment.

Benney is a British artist born in London. He currently lives and works in Suffolk. Benney rose to international prominence as a member of the Soho and East Village Neo-Expressionist group, whilst living and working in New York City in the1980s where he worked and exhibited alongside peers Marylyn Minter, Jean-Michel Basquiat and David Wojnarovicz among the many other others who made up the exploding 80s NY art scene. Despite living and working in this extraordinary creative environment Benney’s painting maintained a uniquely English sensibility. His paintings are notably represented in a plethora of public collections including the Metropolitan Museum of Art in New York, The Brooklyn Museum, The National Gallery of Australia and The National Portrait Gallery in London, The Royal Collection and The Eli Broad Foundation. He has exhibited in eight BP Portrait Award Exhibitions and twice won the BP Visitors’ Choice Award. Benney’s portrait subjects have included HM Queen Elizabeth II, Sir Mick Jagger, John Paul Getty III, 7th Marquess of Bath, The State Portrait for Israel, Lord Rothschild, as well as Ben Barnes for the portrait in the feature film ‘A Portrait of Dorian Grey’ in 2008. Benney was invited to be resident artist at Somerset House in 2010. During his fiveyear residency he held the exhibition ‘Night Paintings’ in 2012 which explored themes that deal more with the subconscious and metaphysical world and drew over 15,000 visitors. In 2017 his epic painting and holosonic sound installation ‘Speaking in Tongues’ was a prominent feature of the Venice Biennale, located at Chiesa San Gallo, just off St Marks’s Square. The paintings from ‘Speaking In Tongues’ were subsequently purchased by a significant US art foundation based in California for permanent exhibition.

Artist : Gabrielle K Brown
Title : What’s Happening Father
Medium : acrylic, pencil crayon, wood, resin
Size : 130 x 125 cm


Embodying a natural and intuitive, seemingly naive, yet extremely complex aesthetic, Gabrielle K Brown is a multi-faceted, multi-media artist who eagerly and energetically seeks new ways to tell stories through her artworks. Her pieces retain anobject, often shrine like quality, utilising materials including wood, various paints, resin, fabrics and even hair - nothing isbeyond limits. The works dissect the relationship we have with ourselves, our companions, our society and our past withan awe and celebration of nature and the divine, shedding light on how we grow and how we suffer as human beings. Confrontational imagery is often contrasted with uplifting symbolism, actions and words - emphasising the extremes of the human condition and experience, and yearning within the energetic and fraughttimes that we live in.

Born in 1994 on the east coast of Canada in New Brunswick, Brown grew up along the river side and mountains which iswhere she connected to art and began painting and sculpting. She has spent much of her life traveling the world andmoving throughout Canada which has always reflected in her work, but has recently moved back home to St John, theoldest city in Canada.Work has been exhibited at Art Basel Miami, as well as Montreal and New York and LA in the United States.

Artist : Sax Impey
Title : Reasons Noble Visage Drowning Neath the Waves
Medium : mixed media on panel
Size : 122 x 183 cm

Sax Impey’s paintings and drawings are often large scale, immersive and elemental, incorporating intense detail and dexterity and an expressive, behavioural use of medium. Since 2005, Impey has produced works derived predominantly from experiences at sea. A qualified RYA Yachtmaster he has sailed many thousands of nautical miles around the world. These extensive trips have had a profound impact and subsequent development as an artist. Reconnecting with nature through this powerful element has the almost inescapable effect of calling to question some of life’s existential questions. This epiphanic moment of realisation, of revelation, is at the core of Impey’s oeuvre. Reflecting on and capturing personal moments and making them universal, Impey’s work reaffirms the importance of introspection and confrontation, found specifically when surrounded by the natural world; “A mind can breathe, and observe, and reflect, away from the shrill desperation of a culture that, having forgotten that it is better to say nothing than something about nothing, invents ever new ways to fill every single space with less and less”.

Impey is a British artist born in Penzance, Cornwall. He currently works from one of the prestigious Porthmeor Studios in St. Ives. From 2005, he has collaborated with the cross-cultural, environmental art group Red Earth in the creation of site-specific installations including a multi media performance at Trafalgar Square, London and Birling Gap in Sussex. In 2007 Impey’s work was selected for the ‘Art Now Cornwall’ exhibition at Tate St Ives where he was placed on the cover of the associated publication. The same year he was heralded in The Times as one of the ‘New Faces of Cornish Art’. In 2010 he was featured in Owen Sheers’s BBC4 Documentary ‘Art of the Sea (In Pictures)’ alongside Anish Kapoor, J. M. W. Turner, Martin Parr and Maggi Hambling among others. His work was selected as a finalist the 2013 Threadneedle Prize and the year before was elected an Academician at the Royal West of England Academy. His paintings are in multiple collections including The Arts Council, Warwick University, the Connaught Hotel and the collections of Roman Abramovich and Lady Victoria Getty alongside other private collections worldwide.

Artist : David Kemp
Title : Released Spirit
Medium : beach waste assemblage
Size : 50 x 50 x 10 cm

There was once a clever tribe
Whose knowledge tied the four corners of the world together.
Their sorcerers had many powers.
They made great poles that held the sky up.
They had great cunning with fire
They could make the night like day.
They could send pictures in the wind
Their long tongues could speak over many miles
Their warriors were fierce and powerful.
They rose in the air, over land and sea.
They overcame all the other tribes of the earth.

One day the smoke from their many clevernesses grew thick,
Great flames licked up the poles blocking out the sun and burning a hole in the sky.
Slowly, the sky started to fall.
Fearing the dreadful weight of the clouds
The tribe dug deep holes in the ground.
Here they hide with all their clever things
Awaiting the day when the sky is pushed back up.


‘Released Spirits’ was made from a plastic chemical container washed up on the beach in West Cornwall. The playfulness and inherent humour of David Kemp’s assembled artefacts cannot mask a more serious underbelly or his intention to expose our folly and or materialist excesses. Driven by his own apocalyptic and subversive vision, he makes sculpture from the disregarded bits and pieces left by successive consumer boom. These remains point out the awful truth – that we value trash and are seduced again and again by the trumped-up new. Technology that is phoney, or only half understood, is grasped at for answers to our needs. In pursuit of the largest thing, it becomes impossible to tell real technological advances from the dead-ends. By making what might have been, or should have been he mirrors our universal human weakness.

David Kemp was born in London in 1945 and grew up in Canada, he has for many years worked amongst the ruins of the ancient tin mines on the Tinners Coast near St Just in West Cornwall, creating his collections of ‘Relics and Reconstructions from the Late Iron Age’. His assemblage work has been compared to the work of archaeologists and ethnologists, forging comparisons between mythology and technology, past and future. Kemp has produced many public artworks and has exhibited widely with works acquired by many museum collections internationally.

Artist : Henry Hussey
Title : If Only You Would See
Medium : textile and ceramic
Size : 245 (H) x 135 (W) x 5 (D) cm

“The work deals with the fallacy of utopia and the end route of ideaolgy. It very much draws on ‘The Garden of Earthly Delights’ by Hieronymus Bosch which I have always viewed as having to go through hell to get back to the garden. All utopian views are in a way an attempt to get back there. Yet to truly reach the garden everyone needs to share your view which has materialised in nazism, communism and even extremes of religion. You will cause chaos before you create harmony. All the ceramic heads represent blind kings / leaders, each is an idealogical movement thinking they finally have the right answer yet they have all got it wrong.”

Henry Hussey 2021



Henry Hussey’s artworks are often emotionally and physically raw, yet contrastingly beautiful and intricate, created withforce through often paradoxically laboured mediums, including textile, glass, ceramic, paint and film. Whether through an expanding vocabulary of quasi-mythological symbols, or in embellished lines of text extracted from performative situations Hussey explores personal and national identity in response to aggravating relationships and events. Recent experimentations reveal a deep concern with control and chaos and the sweet spot in between these two distinctive states.

Henry Hussey is a British artist born in London, where he still resides. He studied Textiles at Chelsea College of Art beforecompleting an MA in Textiles at the Royal College of Art. His work is widely respected and has been exhibited in notableexhibitions including The Textiel Biennale 2017 at Museum Rijswijk in the Hague, a solo presentation at Art Central inHong Kong, the Bloomberg New Contemporaries in 2014 at the Institute of Contemporary Art in London, the RoyalAcademy London and Volta New York and the Young Talent Contemporary Prize at the Ingram Collection in 2016. Husseyhas participated in residencies at La Vallonea, Tuscany, Italy in 2018 and will participate in a residency at Palazzo Monti,Milan in 2020. His work is held in collections worldwide including Simmons & Simmons, Hogan Lovells, The Groucho Club and Soho House.

Artist : Tim Shaw
Title : The Mummers Tongue Goes Whoring Among the People
Medium : bronze (edition of 8)
Size : 29 (h) x 50 (w) x 30 (d) cm

“I first saw The Armagh Rhymers perform ten years ago on Stephen’s Day deep within rural Armagh. It was a remarkable winter scene: heavy snow had fallen upon a frozen grey landscape and the Mummers rhymed and sang their way from door to door, dressed in masks and skirts made from straw. They appeared primitive and other-worldly. I have watched The Armagh Rhymers perform several times since. Through conversations with the mumming community and through my own creative journey, I have been trying to find the essence and the meaning of these customs. For one member of the County Fermanagh mumming community, the act of mumming is very much about performing, through rhyme, rituals that ‘put things right for future surety and mark the passing of time: the dying back of winter and the rebirth of spring.’ Universal themes of death and resurrection come to mind. These customs originated from an age when communities were at the mercy of the seasons, but what is their relevance in a modern digital world where much of what is demanded is met almost instantaneously by the touch of a button? If there is anything that the current pandemic has taught us, it is that we very much remain at the mercy of nature. Perhaps the mummers’ tongue provides a space for us to reflect upon what is important in life, and what counts beyond the endless pursuit of wealth and acquisition of stuff that does not matter.

Along with my brother and friends, I watched The Armagh Rhymers perform two years ago in Andersonstown, Belfast, an area where Protestants may not have felt so welcome during ‘The Troubles’. As we stood in front of a terrace of houses, The Rhymers processed along the pavement and formed a ring on the grass. I looked across to residents that had gathered. As our eyes met, there was a split-second flicker of mutual recognition and understanding that we were once on different sides of a sectarian divide. Then someone came forward with an offering of mulled wine and biscuits. That moment of reconciliation is what gives depth and meaning to the rhyme and song of the mummers’ tongue.”

Tim Shaw 2021

Artist : Gabrielle K Brown
Title : Greed Never Looked So Good
Medium : acrylic, pencil crayon, wood, resin, fabric, horse hair
Size : 195 x 135 cm


Embodying a natural and intuitive, seemingly naive, yet extremely complex aesthetic, Gabrielle K Brown is a multi-faceted, multi-media artist who eagerly and energetically seeks new ways to tell stories through her artworks. Her pieces retain anobject, often shrine like quality, utilising materials including wood, various paints, resin, fabrics and even hair - nothing isbeyond limits. The works dissect the relationship we have with ourselves, our companions, our society and our past withan awe and celebration of nature and the divine, shedding light on how we grow and how we suffer as human beings. Confrontational imagery is often contrasted with uplifting symbolism, actions and words - emphasising the extremes of the human condition and experience, and yearning within the energetic and fraughttimes that we live in.

Born in 1994 on the east coast of Canada in New Brunswick, Brown grew up along the river side and mountains which iswhere she connected to art and began painting and sculpting. She has spent much of her life traveling the world andmoving throughout Canada which has always reflected in her work, but has recently moved back home to St John, theoldest city in Canada.Work has been exhibited at Art Basel Miami, as well as Montreal and New York and LA in the United States.

Artist : Roger Thorp
Title : Dust, Where Do I Begin
Medium : single channel video

Roger Thorp’s interest in the poetic use of word and image, to evoke a deep emotional response, are key to his creative process. His artworks are unapologetically infused with a nostalgic romanticism, transmitting an enormous sensitivity towards the earth, humanity and a universal inter-connectedness between matter and all living things. Primarily consisting of video work and multi-media installation, his work is informed by a deeply-felt belief that as a society, and as individuals, we need to come home, to remember a less rapacious and frenetic way of living, more connected on an emotional level to each other, and to the rest of the natural world. If his work offers up an urgent protest, it remains an optimistic and tender one.

Thorp is a British artist born in Derbyshire. He currently lives and works in Cornwall. He previously worked as a producer on music videos before directing / producing programmes for NGO’s such as WWF, ILO, Greenpeace and the Red Cross, working in Australia, Mongolia and the USA. He has also made two feature films. Other work by Thorp as a writer / director has been screened in Rome, Barcelona, Berlin, Oslo, Copenhagen, Istanbul, USA, Cornwall and London. In 2015 he founded ‘The Olive Network’ a sophisticated web platform built to foster tolerance and understanding throughout diverse global communities by focusing on the positive long-term contributions of charity, the arts and humanities. Thorp’s artwork has been exhibited extensively.

Artist : Carlos Zapata
Title : Trail of Tears
Medium : polychrome carved wood and glass eyes
Size : 90 H x 40 W x 42 D cm

‘The Trail of Tears’ was part of a series of forced relocations of approximately 100,000 Native Americans between 1830 and 1850 by the US Government also known as the Indian removal. What was left of the different nations including the Cherokee, Muscogee, Seminole, Chickasaw and Choctaw were forcibly removed and made to turn their backs on their ancestral land. These groups would suffer from exposure, disease and ultimately starvation as they were forced to walk toan Indian reservation 3000 miles away. Some 20.000 died before they could reach their final destination, succumbing toillness or the brutality of the military herding them as they walked. Today, forced immigration is still an ongoing problemthat occurs globally, as well as the effects of economic poverty, natural disasters, politics and mass developmental projects. Immigration by groups is as old as the human history.

Carlos Zapata makes idiosyncratic carved and painted sculpture and installation. His work deals with many challenging and potent themes from poverty, conflict, religion and race, yet paradoxically, the overriding characteristics of the work are of empathy and compassion. Zapata’s work belongs to and takes inspiration from Folk and Tribal Artforms from all over the world but specifically from South America, from its indigenous populace and the trade routes and traditions that have fed it over the centuries. Many of his sculptures have evolved from personal experience of living in a foreign land and from his home country where civil issues continue to trouble its people. Zapata is a Colombian artist. He currently lives and works near Falmouth in Cornwall, UK. He has exhibited internationally with works held in numerous private and museum collections around the world.