Emma Andrews
Emma is interested in what is unsaid. What we hide but want to say. She is drawn to the gaps in between things, people, words; the silent connections that exist between each other and our surroundings.
She creates series of paintings and other works composed of drawings, prints, photographs or words that explore aspects of our identity, relationship, thought, desire and other related ideas.



www.emmaandrews.co.uk

Susan M. Austin
I studied art from 1989 to 1993 at Guildhall University (now London Metropolitan University). Since the I've been based at WestlandPlace Studios, taking part in open studio weekends and exhibiting widely. 'I am currently developing images in acrylics, mainly based on trips to the coast of East Anglia. I find it reassuring to be able to see the horizon. This is a switch from my previous interest in depicting the human figure using drawing, print and watercolour. I like to work in series and make books. I hope to make more books, because I enjoy the element of surprise and delight they can produce.'

Kate Crook
Graduating from Brighton School of Art and Design, Kate worked as an illustrator in London. She moved into magazine design, working at the Sunday Times Magazine for eleven years. During this time she was able to take sabbaticals in Italy, producing large format watercolours of the Tuscan countryside. This inspired her to continue painting when she and her family moved to Paris and then Bavaria. She then returned to the UK and developed her landscape painting, inspired by the South East coast around Hastings, Dungeness and Romney Marsh.
Kate employed different media: water colour, graphite, silkscreen, monoprinting and etching. In 2007 she graduated from The City and Guilds Art School with a Higher Diploma in Post Graduate Studies in Fine Art Painting.
She now divides her time between her studios in London and at home in Kent, working as a painter and printmaker.
While working on a charcoal drawing based on Ruben’s Massacre of the Innocents (1611-12), Kate became obsessed with the inner pattern of dark and light shapes that emerged. Further fragmented figure paintings inspired by the eighteenth century woodblock printmakers Hokusai and Utamaro developed into abstracted patterns.
A trip to Cornwall painting facetted rocks on the coast revealed patterns of hand-cut semi-precious rocks and stones mined in the area. This led to a series of etchings based on ostentatious jewellery . The light falling on these cut stones created prisms of light and dark, they suggested constellations of stars and something ‘other worldly’.
Searching for pattern has become paramount in her paintings.

Michael Czerwinski

Jan Gookin
'Final Steps' is a site specific installation in room seventeen where there are some steps that begin somewhere and go nowhere

Edith Gubbay
This work was inspired by a performance of WHIRLING DERVISHES I viewed in Turkey. Large paintings were the first expression, then a series of sculptured Figures were developed from the images seen on the canvasses. The space at The Shoreditch Town Hall is a unique venue which is largely responsible for the creation of these whirling images to be shown in this dungeon – like environment. I am endeavouring to recreate the intense wonder I felt when I first saw these dervishes whirling in their trance-like performance.

Helly McGrother

Heather Meyerrratken
Heather Meyerratken is an Australian artist currently living in London.
‘Tactile ’ is an exploration of one man reviled by his own countrymen, the other enjoying an iconic status. Whilst there are elements of humour, this work is finely balanced with solemnity. Two topical installations, leaving an indelible impression on all of the senses.



www.heathermeyerratken.com

George Morris
George Morris’s practice considers the built environment, digital aesthetics and related representational issues. His work has recently focused upon the proliferation of non-physical, networked data space in relation to an increase in banal ‘non-place’, physical urban environments. Morris continues to explore the impact that this phenomenon may be having on areas such as memory, place and sociability - considering ‘data space’ as primarily a site of economic as opposed to social exchange. Morris is an MA Fine Art graduate of Central Saint Martins and has previously exhibited work at the Whitechapel and Curwen and New Academy Galleries. He is an occasional visiting lecturer at the Royal College of Art.



George Morris at the Schwartz Gallery

Sheila Ogilvie

Richard Sharples
Following a career as a designer, director and maker in film, theatre and television Richard now creates installations, sculpture and public art. Current projects include a large commission for the courtyard of the new Children’s hospital in Manchester.



RichardSharpes.co.uk

Jonny Williamson
The proposal for this show is a site specific architectural installation which aspires to be the "dark heart" of the exhibition. I am interested in ambiguous structures which defy catetgory and resist interpretation. 'Room 18' creates an unexpected space and further spaces within, combining the language of formal sculpture with that of architecture and the built environment. But the piece is a cipher; as a room its function is unclear. We are both offered and denied access, and can only glimpse the mysterious interior workings. Its scale and complexity are deliberately confronting which prevents the viewer achieving a satisfying understanding in the round. Whatever it's real purpose, the work exists in a self contained autonomy and seems to focus inward in meditative reflection. As a piece of architecture, Room 18 is a product of it's environment. Like the modern city it both salutes and subverts the Modernist legacy with it's high ideals - often corrupted and cheaply delivered.
I am currently studying Fine Art at Chelsea College of Art.

Simon Williams
My recent work has moved away from depictions of figures and I have been concentrating on landscapes. Specifically I have become interested in man made structures within landscape and with town and city views. The paintings depict scenes from different countries recently visited, such as France and Italy, alongside scenes closer to home in London and other parts of Britain, aswell as some imagined scenes. I have used sketches and photos to build up a composite picture, sometimes moving or adding elements to try to achieve a feeling of atmosphere and harmony of colour and space. Of course as with any landscape the light and the time of day are important aswell as the clouds and shifting weather patterns. I am excited by this change in focus and have many more ideas for further paintings.

Mary Oley
Mary’s work explores interface between real and imagined, using the landscape as a focus. The physicality and experience of both inhabiting and viewing the landscape both in situ, via a lens or remotely through photographs are current concerns. For this show the American landscape viewed as part of a journey, and then latterly via digital images; reconstruct multiple complex internal and external realities comprised of received experiences via film television, literature and ‘reality’ viewed via the lens of these experiences both actual and metaphorical.

Back