Private collection, London. @olivermarsdenartist and @williamturnbull_artist
Private Collection, London. @_samuelbassett
Private Collection, London. @ben_crawford_art
@salahelmur
@frankiethorp
@henrikgodsk
“To paint also teaches me to see my surroundings. Right now, being in an intense period of a painting process, I see nature more sharply. To bike home from the studio at night, when it’s dark and misty, becomes an extension of the paintin
These recent works communicate this other plane beautifully, blurring the lines between abstraction and figuration in which lucid forms of trees and plants or pools of water emerge and dissolve and planes of sombre blues and greens are punctuated wit
The idea that these paintings embody complex layers of feeling and sensation is echoed in the act of painting itself in which Gesang-Gottowt continuously applies and scrapes away layers of paint until the work finds its natural conclusion. A very phy
‘I am constantly looking for answers as to why we are here, questioning the dichotomy between spirituality and existentialism. In my work, texture and layering creates depth and alludes to the passing of time and my search for meaning’.
Gilpin’s approach to painting is both varied and intentional, encompassing two distinct techniques that reflect contrasting emotional states. Her early works employed soak-staining with acrylics on unprimed canvas, a process she discovered duri
Gilpin begins her process by priming the canvas and applying a single block of colour on which she gradually builds up layers, until the composition begins to take form. There is a profound physicality and musicality to her paintings, their scale nec
“It’s impossible for anything to stand alone because when you see something, it’s connected and affected by everything you’ve seen before.” This perspective, shaped by Lucienne O’Mara’s personal experience, u
In 2017 O’Mara was involved in a car accident, suffering a brain injury. Her subsequent recovery process, during which her spatial awareness and ability to process visual information was impaired, has informed her artistic process today. O&rsqu
O’Mara’s gestural, physical mark-making is charged with emotion and energy as layers of oil paint are pushed and pulled across the canvas, creating complex, painterly surfaces which vibrate with overlapping colours. Each mark builds upon
‘I see this is the human essence, in all its forms. It’s about the human body, it’s about the human psyche, it’s about mark making and our own anatomy’. George Rouy’s current exhibition at Hauser and Wirth, London
Using photographs sourced online, Rouy manipulates bodies through Photoshop, creating layered and complex compositions that are stripped of individual gender and identity. As the figures dissolve into entangled masses, calligraphic marks punctuate th
Inspiring this body of work is Théodore Géricault’s The Raft of the Medusa (1818–19), a painting that captures the fragility and emotion of humanity in moments of crisis. Géricault’s depiction of 15 survivors fr
Private Collection, London
Private Collection, London

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