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Alexandra takes her inspiration from countryside walks. She enjoys capturing the light, shadow and colour of her favourite scenery as hand printed reduction linocuts. Her work is popular on the Artfinder and Print Solo websites, where she has sold nearly 300 works internationally in just over two years.
Alexandra has been a full-time professional printmaker since 2012, creating a studio at her home in Bicester to enable her to develop her skills to the highest standards and teach her regular private lino printing workshops to novices and professionals alike.
Alexandra is committed to promoting printmaking in all its forms, but especially keen to demonstrate that lino cutting, although perfect as a simple beginner’s medium, can also be complex and technically challenging.
Glass has always held a fascination for Alison. From an early age she was fascinated by the fact that it was both a liquid and also solid at the same time. Then in her previous packaging career she was in awe looking into enormous glass furnaces and feeling the intense heat and then watching a constant stream of white hot ‘gobs’ of glass shoot overhead and into banks of blow moulds every few minutes to make bottles and jars on a huge industrial scale.
She loves the clarity and refraction of glass and the ability to create such dramatic variations in its appearance through colour or shape and a variety of techniques. She favours pieces with weight and substance. She is intrigued by the ancient techniques but also the ability to play and innovate with glass and techniques.
Nature inspires her, in particular the seaside, waves and oceans, but also mountains and clouds. Contrastingly she is also inspired by high-tech architecture.
Cathy Read’s paintings depict the geometric shapes and inherent patterns of architecture in a free, expressive style which relies heavily on the use of masking techniques. The inspiration for the paintings coming from time spent in London and other major cities, such as Manchester and Oxford.
Cathy has exhibited with the Society of Women Artists since 2013, becoming a member in 2015. She was awarded the Barbara Tate Memorial Award by the SWA for her Body of Work in 2015.
She has also exhibited with the Royal Watercolour Society and Royal Institute of Painters in Watercolour.
Qualified as an Occupational Therapist, Cathy Read started her art career in 2008. A self taught artist, her earlier paintings were predominantly circle based abstracts. She developed her distinctive style around this time before venturing into urban landscapes. An interest fuelled by a lifelong fascination with buildings. This evolution was only natural following a childhood dominated by the giant mills of the Cotton industry in the North of England.
Christine lives close to
Ivinghoe Beacon and has painted the Beacon itself, as well as other views of the eastern end of the ancient Ridgeway.
Christine begins by drawing the composition onto board or canvas. Next, she uses tissue to loosely block in areas of colour, relishing the unexpected shapes which emerge from torn edges and overlapping layers. The tissue is glued to the board or canvas. The drawn composition is important to her; when it begins to disappear beneath the layers of tissue, she re-draws it. She then paints in acrylics onto the collage base, focusing on the original drawing but also incorporating many of the shapes which originate from the tissue layer. Her aim is a synthesis between the drawing and the more abstract collage, with the painted layer bringing the two together.
Graham has worked with
paper as a medium for many years and has been commissioned to produce
paper sculptures for display work and many promotions.
He now focuses on using the medium to express his own creative ideas. He has demonstrated paper sculpture in John Lewis and other venues as well as exhibiting
in Wales, the West Country and locally.
Graham also produces turned art using a variety of recycled materials including paper, acrylics and Corian bonded together
and turned on the lathe into decorative bowls and pots.
Ian Fraser has lived and
worked in Oxford for many
years and has always been fascinated by the rich detailing of the buildings. Some years ago
he developed a technique which gives the images a flat perspective, like an architectural drawing, but allows the buildings to be seen in their architecturally correct form and retains their fabulous detail.
All his prints are photographically originated and some of them, such as the ‘Basilica Di San Marco’ in Venice, are painstakingly composited from literally hundreds of different photographs. This makes the views of many of the buildings totally unique.
He was commissioned to produce the series of Blenheim oak tree prints using this same technique. All of the oak trees in this series are in the grounds of Blenheim Palace and each tree is numbered with a metal tag. The certificate on the back of the frame has a map showing specifically the location of that tree as well as the location of all the other trees in the series.
James Dougall is a multi-award winning silversmith whose innovative approach bridges the gap between C21st design sensibilities and the traditional craft techniques he uses to produce his work.
Unafraid to take risks, he seamlessly utilises other materials with silver to extra- ordinary effect; leather, wood, glass, fish skin, even brick and marble are employed to create a unique synthesis and design vocabulary.
Each piece is the cumulative outcome of a long process of engagement which the designer hopes will add to the rich canon that is the silversmith's art.
Kirsteen Holuj’s inspiration mainly comes from nature – plants, pods, seeds, rocks and landscapes. Regular visits to the Isle of Coll in the Inner Hebrides have also had an influence on her work; it is a unique place where all types of weather can happen in one day. Bad weather is dark and dramatic and yet when the sun eventually appears the light and colour can take one’s breath away. It is not always instant or obvious but all these elements direct her work somehow, with a texture, colour, form or glaze.
Much of her past work has been fired in an electric kiln, which is fine but it does not satisfy the pyromaniac in her, so she also makes work that she can Raku fire, the process is much more sensory, one can see the glazes melt, feel the heat of the fire, smell the smoke in the air. It is always unpredictable and becomes addictive. Last year she also completed the building of a soda kiln which has taken her work in a slightly different direction with a return to the love of throwing on the potter’s wheel and exploring what happens to her favourite textures with this dramatic way of glazing clay.
Maria's early creative training and work was in graphic design, this was a time when the industry was changing from drawing boards to computers. As her work became more computer based she realised she missed using her hands and making things, that realisation led her to ceramics and eventually an MA in ceramic design at Bath Spa University. Since graduating she has exhibited nationally and internationally and now works from her studio in Bath.
Her work as a graphic designer is a major influence - the precision she learned when creating artwork on a drawing board combined with the organic nature of clay is the basis of her work in clay. Line has always been important, from a small child watching her father, a structural engineer, draw perfect black lines on his technical drawings to her own as a graphic designer in producing artwork for print. Now she attempts to create equally perfect lines in 3 dimensions around a form - it's an exploration into finding the balance between spontaneity and control and the relationship between the geometric and the organic. Her interest and current use of colour came from her time on the MA course at Bath Spa. She had previously worked with rigidly geometric forms and a limited palette of white, grey and blue, but as her work became more organic in form her interest in colour developed. Each piece and group of work is a making journey which encompasses elements of chance and control and examines connections between form, line and colour.
She is quite experimental in her process and likes to explore different ways of making, constantly seeking new and better ways to achieve her ideas. She mainly hand builds and at the moment she makes cylinders, a geometric form, which she then cuts, slices, re-joins and shapes to create forms which are more organic. It is the process of working in this way and seeing the form emerge that holds her attention - it is important to her that this is a slow process giving her the opportunity to assess and make changes to shape and line as the piece develops. She use colour to divide and segment the surfaces - once bisque fired the pieces are masked and sprayed with vitreous slips, each colour having a separate firing.
After a career as a landscape
architect and urban
nine years as a member of
the South-East Regional
Design Panel, Paul
discovered stone carving
and has been committed
to it ever since.
Paul carves mainly abstract, semi-abstract and occasionally figurative pieces in a range of stone types including limestone, sandstone, marble, soapstone and alabaster. He enjoys the act of carving, the ring of the stone, the feel and even the distinctive smell of different types of stone. It is a totally engrossing activity.
He loves stone and is endlessly fascinated by the challenge of carving it and revealing the hidden qualities of this hard old material that was created millions of years ago and will long outlast us.
Peter Austin likens his kind of painting to the experience of listening to a piece of music. It may evoke or suggest mood, atmosphere, event or place but it does not describe its subject in any literal sense. His paintings continue to be about things seen and experienced (the word "about" being important i.e. not "of" but about a landscape, a place, time, day - or a memory of any one of those things.) Also, they are about the interest he has in the problems of making a painting, of using materials and how paint works.
Peter was brought up in Dorset and studied painting at Bournemouth College of Art. In 1962, following the award of a Travelling Scholarship, he went to live in Sweden where he was able to paint and exhibit his work. In 1966 he began a forty year career in various aspects of art education. Since 2006 he has been able to concentrate on developing his painting and has exhibited in several provincial and London galleries including the Royal West of England Academy in Bristol and the Royal Academy.
Peter has lived & worked in North Buckinghamshire for many years.
R & B CERAMICS
Richard started his artist career at Bradford College of Art, where he studied as an Interior Designer prior to starting work as such for Samuel Smiths Brewery in Tadcaster. He returned to university at Bretton Hall to retrain as a teacher. His first teaching job he was put in charge of a ceramics department and so started a lifetime love affair with the material. In 2003 he left full time teaching and returned to university to complete a degree in glass and ceramics at Buckinghamshire University.
Carol trained as a nurse after an education in England, USA and Germany. Her interest in clay started at an evening Access to Art and Design course and developed into a love of making - both on the wheel and hand building.
Carol and Richard began a working partnership around 2010. The resulting ceramic art is a fusion of both their skills, contributing to each others work and creating new work together. Their ceramics are as varied as the British climate - work being both sculptural and functional, life size to miniature, Raku to High fired porcelain.
‘Watercolour painting is a perfect medium for capturing the energy and the drama
of the landscape, I love its vibrancy and fluidity. Whilst
it is extremely challenging, it is completely addictive as no other medium offers the same degree of spontaneity. Most of my work is inspired by memories, music and the elements of the landscape.'
Although Rod has painted since childhood, he switched to being a full time artist in 2010 after a long career in design. He now divides his time between Bath and Woodstock motivated by the contrast between city life and the Oxfordshire countryside. He has work in collections in UK, Germany and New York and exhibits regularly.
Rosemary started working
with wood in the late 1990’s leaving behind a career in biochemistry.
What started as a hobby became a passion.
Having no arts education, she learnt her craft making functional items and gradually developed an understanding of form and aesthetics. I enjoy the process of taking a raw piece of wood, creating a design and making the product from start to finish, attempting to achieve simple, balanced, elegant forms with contrasting elements of colour, texture or burning applied for added interest. Sometimes, however, it is enough to allow the more interesting woods to speak for themselves.