Images and icons in egg tempera using gold and metal leaf with a contemporary edge.
Having been in the antiques trade most of my life I have built up a large quantity of random items which I wanted to use to make pictures rather than put in the bin. These include buttons, buckles, keys, lace, bits of broken jewellery, etc.
I wanted a change from paint brushes and oil paint and have been working in a more experimental way, without too much premeditation, and letting the images find themselves.
Karen’s paintings, collages and graphic images incorporate wasteland and bold structures inspired by urban building projects as they progress through stages of their regeneration.
Karen was first enthused by the boldness of large structural frameworks and the energy, activity and transformation to be found in expansive urban regeneration sites. Her initial work concentrated on the Bristol Cabot Circus and Bath Southgate development projects leading onto the larger scale development site of the London Olympics 2012.
Energy, noise, movement and continual working progression at these sites feed into her many onsite drawings, photographic images and studio paintings. Random segments of Karen’s paintings are stripped back and restarted, reflecting an essence of urban regeneration.
With a passion for dramatic, bold and energetic mark marking, Karen endeavors to capture a sense of what has gone before - a glimpse at the hidden industrial wasteland, history and inner skeleton of constructions and their surrounding environment.
Karen Wood: www.kbwood.co.uk
Joe’s paintings embody his exploration into the physicality, tactility and aesthetic qualities of paint. The resulting surface is as important as the work itself.
Joe equates his work with that of exposed negatives i.e. latent images awaiting development. The application and subsequent part removal of paint, coupled with the interaction between differing mediums, produce a multitude of diverse qualities in his work. The varying processes Joe adopts drive each work in a different direction. His response to the way paint behaves and the use of multiple layering contribute to the richness found on and under the surface.
Painting on a large scale, says Joe, gives him the freedom of movement for these layers to come to life. His natural inquisitiveness, fondness for experimentation and child-like sense of wonder, combined with down-to-earth practical experience in science and photography, feeds into and informs his practice. This unusual mix of characteristics produces a logical approach and a delight in the results.
Mark was born in England in 1981 and studied Fine Art in Bath, Cornwall and Exeter, before returning to Bath where he now works as a practicing and emerging artist.
He examines the connection between the strange and familiar, working mainly with the relationship of spontaneity and control which is combined and expressed in an almost wild, psychoactive visual dialog. The results of his work create an interaction between the abstract and the surreal, the human and the alien. The genre of his work described as street pop graffiti.