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Keith Ashcroft I’m interested in the stubbornness of paintings and their difficult, unreliable nature as flat, illusory surfaces, and how this fundamental contradiction is negotiated through the complex exchanges between image and material. The process of making is often initiated by staining the canvas surface, which encourages amorphous shapes and forms to emerge and materialise….

Daniel H Bell Daniel H Bell’s paintings are based on the physicality of humans and other animals. The ambiguous figures that appear in them stem from various personal encounters at home and out in nature. The predominantly small-sized pieces revolve around a cast of hybrid creatures, rotting surfaces and miscellaneous body parts. Bell works intuitively,…

Lisa Ivory Lisa Ivory’s landscapes are commonly occupied by a Wildman, who occasionally interacts with a female human figure. There is a Rake’s Progress of sorts, with a skeletal Death figure interrupting the discourse between these characters. The Beast attempts sympathetic magic by scrawling images into the landscape. These exchanges occur in a shadowland —…

Benjamin Deakin My recent body of work is largely represented by paintings of modest interiors looking out at Himalayan mountains-capes. These works continue my enduring interest in landscape and mountains as subjects in art but which increasingly use windows and interior space to explore spatial possibilities in painting. By including the mountains as a constant…

Graham Crowley I paint shadows. I’m intrigued by luminosity in painting. This is the driving force behind LIGHT INDUSTRY*. I’ve always been fascinated by those of Manet. The way in which the image and the painting (as its own object) can be seen simultaneously – fused together as a singleluminous entity. This remarkable duality is…

Lara Davies Lara’s paintings are a direct response to the environment she inhabits. Her paintings act as photograms, absorbing the life around her, be it the communal existence of her shared house in London, or the wilderness of the Highlands when she is bike-packing. Paint is applied in thin layers to create a mottled surface,…

Jenny Eden Emerging from a process of close making and the complex relationship between two active ‘objects of being’, my paintings embody the potential for visual and psychological oscillation. The exchange between painter and painting arrives at curious and insubstantial ‘part-objects or creatures’ and atmospheric spatial-fields, where ‘thingly’ qualities operate simultaneously on and in the…