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Dilys Finlay-Stephens portraits are very much influenced by her grandfather, the American portrait painter Thomas Edgar Stephens, who painted the entire Eisenhower cabinet and the last life portrait of Winston Churchill as Prime Minister. Her portraits concentrate more in depicting her subjects as products of their urban environment.
Finlay-Stephens looks to Dutch Masters and also colour photography for her influences. Feathered shapes are pressed against glass and here sometimes the contest between motion and stillness, like life and death, seems to suggest trapping, and the states of suspension, transience, and metamorphosis. |
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Roberts seeks poetry and adventure in the most unassuming elements of daily life. In his paintings abandoned factories, dwellings, industrial units, deserted stadiums and parks shrouded in the ordinariness of the everyday, are rediscovered and transformed into enigmatic images. Memories of growing up at the RAF base and fascination with the wasteland glamour of film noir are major influences in his work.
He is based in London and studied at Cambridge University and Central St Martins. In 2003 he was short listed for the Jerwood Drawing Prize.
Selected Exhibitions include: 2005 Point Blank Lounge, London. 2004 Contemporary British Painting Hastings Museum and Art Gallery, Sussex. |
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In my work I combine the linear with baroque elements, creating a somehow unfocused visual journey. The layers of translucent paint gradually form the image allowing a web of brush-strokes to describe its spaces. An intense sense of light is of great significance in the work as it acts as a way in or an exit point out of that journey. It allows suggestions of infinity or describes claustrophobic areas.
She lives and works in London studied at Ruskin school of Fine Art and Royal Academy Schools. Solo exhibitions include: 'A million mirrors', Greenberg Van Doren Gallery, New York, 2007; ‘In the ruins’, Contemporary Art Projects, London 2006; ‘On the verge’, Amy- Jo Spitallier presents, London |
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Lumbers work examines the trajectory between youth culture and media driven glamorous MTV stereotypes. Lumbers paintings have a sense of ghostly/dreamlike dislocation. The scenes depicted of isolated woodland clearings, lakes and forest glades occaisionally inhabited by carefree if somewhat melancholic adolescents, are not quite of waking life. Using otherworldly colour schemes and dramatic lighting, Lumbers des cribes scenes that are familiar yet stripped of identifying characteristics; estranged and dreamlike. She uses disjointed brush strokes, neutral backgrounds and fake labels.She works in London and studied at the Royal College of Art. |
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Artist statement:
"This place, if I could describe this place, portray it, I've tried, I feel no place, no place around me, there's no end to me, I don't know what it is, it isn't flesh, it doesn't end, it's like air." (Samuel Beckett, The Unnamable)
She lives and works in London.
Education: BA Manchester Polytechnic; MA Royal College of Art.
Selected exibitions include:
2005 Solo Show Firstsite
2004 John Moores
2004 Whitechapel, East End Academy
One year's residency Florence Trust |
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Contemporary figurative painters, like many others, find themselves in the congested territory of searching for a distinct subject matter that has the breadth and malleability on which to build a personalised mark making language. For Greg Rook, this quest has brought him to the rich imagery of the American frontier and Wild West. (...) J. Brooks
Education:
2000-2002 MA Fine Art, Goldsmiths College, University of London
1997-2000 BA Fine Art (painting), Chelsea School of Art & Design
1991-1994 BA & MA Philosophy, Politics & Economics, University College, Oxford
Solo Exhibitions:
2007 We live like this Lounge Gallery, London
2005 Myth II Gallery Min Min, Tokyo |
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