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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.
Andrew is a self-taught artist and has
been painting full time since leaving
Sherborne School in 1978. Whilst still
at school he was personally encouraged
by the late Sir Peter Scott and went on
to hold his first one-man exhibition at the age of twenty-one at the Malcolm Innes Gallery in London. He has subsequently exhibited with several prominent London galleries including the Tryon Gallery, Mall Galleries and Frost & Reed.
As an artist Andrew has been invited to work in many corners of the world, including the Corbett National Park in India, Antarctica with the Royal Navy and Ulusaba, a private game reserve in South Africa. Most recently he has been to the Atlas Mountains in Morocco. On each occasion he has painted the wildlife and landscapes resulting in successful London exhibitions.
Andrew is past president and a leading member of the Society of Wildlife Artists (SWLA) and a Fellow of the Royal Society of Painter-printmakers (RE). He now lives in Quainton and when not travelling works from his studio in the garden.
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.
Graham has worked with paper as a
medium for many years and has been
commissioned to produce paper
sculptures for display work and
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.
Hilary specialises in animal sculptures and has an especial love of birds. All her pieces are built using the traditional coil technique in stoneware clay. In some of her pieces she uses the technique of scriffiito - drawing directly into the slip before the first firing. She then paints coloured glazes into the drawn line before firing the piece for a second time.
For most of her career Hilary has been employed in the Animation industry, eventually working her way up through the business to the post of Director.
Hilary was an animator and boarder on "The Snowman" and co-wrote "The Snowman and The Snowdog". Her film work has won several major International Awards, including BAFTA.
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.
Kathryn is a printmaker specializing in screenprints and linoprints. She takes inspiration from nature, British landscapes and her travels to Western USA, China, Greece and elsewhere and likes to abstract shapes and colours to create her distinctive prints.
Kathryn taught for many years and during her teaching career discovered with her students the joys and unexpected and surprising results of the printing process.
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.
Laura Boswell is a landscape printmaker working exclusively with linocut and traditional Japanese woodblock. She has a degree in Art History/Visual Art from the University of Wales, Aberystwyth and has recently been elected to the Royal Society of Painter Printmakers. She undertook two residencies to train in Japan, studying woodblock printmaking with master craftsmen, and her work often looks to Japan in its use of white space and minimal approach. Laura shares the Japanese appreciation of rigorous training; her work often displays impulsive line and brushwork, requiring meticulous cutting and printing to give the impression of fluid spontaneity. Laura will be attending a further Japanese residency in 2019. In addition to her printmaking, Laura teaches, writes a column for Artists and Illustrators Magazine and works on the occasional public art project. Her prints feature in national collections including the House of Lords and the Library of Wales.
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 designer, including 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.
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 andthe elements of the
Although Rod has painted since childhood, he switched to being a full time artist in 2010 after a long career in design. He now divideshis 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.