Minnie Cathleen-Browning 

@minniekathleenbrowning

“Transfixed by ultramarine blue, my practice uses the colour to explore vacant space.

Ultramarine has continuously been used to represent divinity in Christian art while also being reminiscent of the unyielding sea and sky, thereby lending itself well to exploring illusory space and representing the unreachable.

My gradient work relies solely on the beguiling effect of the colour, while my recent figurative work uses recesses found in places of worship, known as niches, to further reference the otherworldly. Both forms hold an emptiness. 

There is a paradox in using concrete materials, such as pencil, ink and oil paint, to create intangible spaces. Thus, my work often resides in the thresholds between the two.”

Will Cook:

@william.cook__

Will’s work records his process as he digests, explores, and seeks to understand the earth, nature, and his place within it.

Drawing heavily from experiences in natural spaces through hiking and mountaineering, Will aims to present the unique understandings discovered in these environments through painting. 

His methods mirror geological processes, with paint being layered, removed, abraded, and washed away. The process of the painting is evident and unhidden, reflecting the exploration of construction and time.

Through the presentation of seemingly abstract scenes, he explores a sense of familiarity, encouraging viewers to embed their own experiences into the work.

Abi Birkinshaw:

@abibirkinshaw

“I make paintings that narrate my own lived experience; they are a synthesis of my day-to-day life. My most recent work forms an attempt to reconcile complicated feelings surrounding impermanence and memory. 

Floating heads and fragments of text exist in an ambiguous world. The liminal space between the real and the imagined and past and the present is where my work often lies.”

Albert Rendle

@polygwon

“Exploration is a key force behind my work, in order to connect with the world as I see it, and with myself. The subject emerges from the process, in a revolving-door relationship between form and colour. Using the rules of visual harmony and composition to create an unsettling atmosphere, I try to find a way through the limitations of reality, letting my unconscious decide where to stop, without asking why. 

Brushstrokes occur organically, exposing the process itself, while forms reveal themselves, and colours exist on an otherworldly plane. I use my work to seek understanding from my inner monologue, and to find out what’s underneath.”

Cordelia Ostler

@cordelia.o

In Cordelia Ostler’s paintings, she draws on thoughts of desire, love, and loss. She makes art to immortalise certain feelings, fleeting images and memories in an attempt to release them from her thoughts.

In her Candle series, the candle is used as a symbol and welcomes all of its connotations. The lighting of a candle is ritualistic, and this is how she has treated the object, often burning a flame, or votive, to mark her own states of vigil which she inhabits to mourn and process grief.

In Touching Stone, she looks inwardly, and reflects on how she has been forever-changed following loss, and where that metamorphosis has left her: in a state of almost obsessive fixation on the past, a process of petrification.

Hugo Winderlind

@hugowinderlind

Hugo Winder-Lind’s work explores the relationship between our bodies and our environment, often evoking a sense of divinity. This connection is especially evident in his skies, which feature prominently in his paintings, imbuing them with a celestial quality that resonates deeply. 

Describing a creative process that feels larger than earthly life itself, his work reflects the interplay between the human spirit and the physical world, exploring how we, as humankind, adorn the planet with our ideas.