Carolan is a Scottish artist who has lived in England for most of her life. She was awarded an honours degree at the University of East London studying Fine Art and then went on to Goldsmiths College University of London as a post graduate student.
As Head of Art in both secondary schools and colleges in London she used her talents to successfully teach and inspire a younger generation. Many of her students sucessfully went on to study art at the top Art Colleges in London. She currently works full time as an Artist
Her deep connection with nature and her daily practice of mindfulness plays a vital role in her all her works. People watching , nature watching and connecting with her inner self has been an essential element to her development both as a woman and an artist. Her focus never deviates from observing the perfection of nature.
Her work and passion for the natural world connects both the inner and outer world.
Royal college of Art London, Whitechapel Galleries. London, Christie's Modern art Sale London, South Bank picture Show London, Gabex Gallery LA
Menier Gallery London, Business Design Centre London, Art rapido Glasgow, Espacio Gallery London, Dundas Street Gallery Edinburgh
Awards, Rolland Hilder scholarship
Artworks for Evocativo is inspired by my memories as a very young child running through the fields and meadows in the countryside of Hampshire England.
With great clarity, I recall, experiencing the heightened sense of freedom and excitement, the wildflowers appearing like colourful giants, alive , tactile and vibrant dancing in the wind.
Meadows and wild flowers are a beautiful sight to behold and the very thought of them feeds both my soul and my deep passion for our natural world.
“Studying at Edinburgh Art College, and being involved with the Edinburgh Printmakers early on, has been influencial in my work. With printmaking of some form often being incorporated, a collage - playing with the tactile, and different materials, whether paper, fabric or mixed media.
I still find drawing an essential part of my work, partly as a tool for exploring subjects, and developing ideas. I also collect ephemera and keepsakes, which make their way into my work whether literally or metaphorically.
My visual sources can be something tangible – from nature, a token or collected keepsake, a visual joy or an association with a memory. Often the intangible has an influence - whether it starts off as an idea or feeling, or something subconscious that I become more aware of, even after the work is finished. Words can be an integral part of this in some way, although not always visible.
This part of the unknown in us, surfacing is quite fascinating.
Although there are favourite subjects I am still attracted to, there has also been a feeling of change. Visual metaphors of transformation and growth recur, and I have been more aware of a growing strength in the fragile.
It often surprises me this searching, for new marks and development. Learning and art making, the enriching discoveries and parallels we find in life as we go”
I grew up in a small town in South America between the northern branch of The Andes and The Magdalena River, I moved to England in my mid twenties.
I studied Fine Art at The Sir John Cass School of Art, Architecture and Design, London Metropolitan University, London, England.
As an abstract painter and sculptress my work is influenced by the conventional desire in the artist to engage with the materials and the objective observation of the way that these materials exist in the universe. My fascination in the process resonates with the unconscious and a physical adventure begins till a permanent form surfaces.
I regularly contribute to exhibitions and have contributed to group exhibitions at:
Espacio Gallery, London
Menier Gallery, London
Dunda's Street Gallery, Edinburgh
The current work is from a series looking at the devastating effects of Alzheimer’s. Our memories are an important part of who we are. As they disappear, so do we.
After completing a BA in Fine Art at The Sir John Cass School of Art, Architecture and Design, Nick became one of the original members of Espacio, a co-op gallery run and funded by a group of artists working across all contemporary visual arts media who wanted a space of their own specially designed to meet their needs. Since then he has taken part in many exhibition, both at Espacio and elsewhere, and during that time my work has encompassed abstract painting, collage, and, more recently, figurative drawing.
Nick has exhibited his work in galleries in London, Scotland, have been part of almost 30 group exhibitions and his work is held in private collections.
A lifelong fascination with the energy and motion of the natural world forms the basis of all my work. I am constantly watching how light plays on stormy seas, how the sun can warm a desolate landscape and sheet rain strips it to its bleakest form.
I always work in oils, layering translucent colours over several weeks (sometimes months) to capture the light, adding layers of impasto or scraping back, scoring and scratching with a palette knife to give texture and vitality.
These works are inspired by moments and memories from the long, solitary walks I take across the clifftops of Cornwall. Spotting another solitary figure in the distance who, like me, is alone in the elements, perhaps staring out to sea at the height of a storm or drifting out on the swell of the tide. We share a need to be alone with Nature in it's raw, unfettered state, connecting directly with the natural world without interruption, protection or barrier.
Interrogations about the unconscious and the representation of dreams are at the core of my work.
The painting exhibiting for Evocativo is an optical illusion, where the figures of horses are interwoven with the trees around them. This creates interesting phenomena; it is not always clear whether a horse stands in front of another or behind it. This physically not possible positioning reflects on the web of life, on those seemingly impossible situations from which we can’t really see the way out.
She believes that our unconscious has important messages for us, in the form of dreams, which are worth listening to. Our mind can work more freely during our sleep, when there is no interference from the outside world. Dreams allow our unconscious to take the lead, liberating our mind from logical constraints. Our dreams are related to whatever occupies the most our mind during the day; dreams can provide specific solutions to current dilemmas.
Szilvia’s work examines the representation of nocturnal dreams, focusing mainly on those which appear in the hypnagogic phase of sleeping. Some of my dreams are transferred to canvas without any translation, while others are corrected by waking reasoning.
My research on dreams led me to the conviction that depicting my own dreams could help others to find a way to their own self. The feelings provoked trough my work can take the audience to scrutinize their own struggles; helping them to look into themselves, realising their own identity, finding a meaning of life.
The titles of her two paintings were inspired by the lyrics of a song from 1995 by the British band Mike and the Mechanics. There is a melancholy in the painting of the young woman, Jeanne, that evokes the emotions of the end of a relationship. The paintings also question the use of place and space. The figures are not centred but placed on the edge of the painting, allowing the artist to fill the canvas with colour. This use of the abstract together with the figurative image further enhances the sense of emotion.
Much of Sally’s painting practice deals with the subject of place or space. How the environment or landscape (in its broadest sense) can affect a person or a moment in time. Some of her work deals with periods in history, some with her own personal story. A painter and printmaker, Sally loves experimenting and often combines abstract with representational; paint with print; imagery with text. What is always consistent, however, is her considered use of colour and mark making.
In ArtGallery 37 in Turin, she presents two pieces, ‘I’m not myself you see’ and ‘Mi sono innamorato mentre ti gardo’, relating to her intense search for the unconscious and to that reality that associates to areas that only the imagination can discover.
She inquires in the area of the mind that isn’t subject to the prejudice that reality imposes and is surrealist imagination, the challenge of the logical or that crazy joke, the elements that she brings this exposition.
Disparate objects that she transforms at her will.
I am an independent artist living and working in London. My practice involves painting, sculpting and taxidermy. I am intrigued with the space between painting and sculpture; my sculptural forms evolve from my paintings. I am interested in challenging the traditional conventions attached to painting and sculpture, and find the tension between these art forms fascinating.
I manipulate material and colour to convey feelings of desire and repulsion. I am drawn to themes of temptation and resistance, partly driven by my interest in Jean Paul Sartre’s writings on the unpleasant yet alluring elements of ‘slime’ described in Being and Nothingness (1943).
Handling raw materials gives me a sense of control and tactility. Using raw pigments I make my own paint so that I can achieve a specific colour palette. The result renders a visceral sensation that is a reflection of my interest with the internal ambiguity of the human body and mind. Materially I am drawn to the idea of something malleable being blocked, something molten which might petrify, crack, or rot. Essentially, the ‘in-between’ state of solid and liquid.
My work aims to create an all-encompassing experience for the viewer rather than a simple visual-subjective one. I am determined to bring together fragments of people, life, emotion, and matter, which result in a kind of explosion.
Laurence Cammas is a French eclectic painter, inspired by two opposing universes. Two worlds that she merges together to recreate her own phantasmagorical fantasy, where the happiness and fears of humans beings confront deep hopes, pride and nobility of soul.
From her almost three-decade long experience of living in Asia, in the Chinese world, as in Japan, Laurence has developed a strong attraction to bright and vivid colors, enlightened by the tropical atmosphere; the stimulating bitterness of green tea; the simple daily life depicted in the Ukiyoe (Japanese wood-block prints) as well as the fulfillment vision of a Buddha image.
But Laurence’s work also profoundly reflects her European and especially latin heritage. Symbolism drawn from Italian Renaissance religious painting, allegorical scenes, the fascination of a portrait or sensitivity of a character. Laurence shares with the viewer her own vision of life, guided by the exuberance of the baroque world of Fellini as well as the flamboyance of the colors used by Christian Lacroix, that offers a journey through our emotions...
Andrea has always felt displaced. Belonging nowhere she is a nomadic observer drawn to capturing snapshots of transitional locations through painting.
Absorbed with the notion of places and spaces of transition Coltman has considered the viewable environment and how that relates to Modernism, Geometry, Edges of Portraiture, Architecture, Minimalism and Abstract Expressionism. Her works question places of constant transformation drawing on her own movements, and journeys that intersect with passageways. There are connections yet there is disconnect revealing a state of flux, the crossing of physical and metaphorical boundaries, discovering places of transformation whilst moving between material, physical and emotional states.
Pigments are applied, reimagined situations and objects are then interrupted and decontextualized by the addition of minimal bright colours combining figuration and abstraction. Using mixed media, Andrea responds to the passer-by, the environment, linear forms, factual newspaper headlines, re-imagined captions as well as images from the tabloids. She edits, re-edits, duplicates, interprets and re-interprets the literal context. Repetition is thematic alluding to the cyclical nature of her daily life. Precision is implied, imperfections arise and unexpected narratives unravel with dystopian overtones.
The bright orange fluorescent lines reference hi-visibilty; these can disrupt the viewer’s visual perception. They allude to the visibility of the subject, artist and viewer. They are all highly evident, drawn together through chance, yet often completely unaware of many aspects of their connections.
Andrea reflects psychologically to the everyday overlooked instant or object. She is drawn to the ephemeral, the split second, a passage through a place or environment. Coltman is a rootless wonderer, a 21st Century Flâneuse.
Andrea is based in London and Kent and has recently graduated with an MFA from University of Arts London.
The pivotal interest in my art is people. Human behaviour and emotions as they unfold in response to society, morals and social interactions.
My aim is to bring people to life, and provoke thinking and questioning of the status quo. My art is narrative, and I have always been attracted to the magical stories that characters tell. I attempt to tell stories which go beneath the surface to understand personal histories. Searching beneath appearances, we will eventually find the uniqueness of us all.
Texture in the artwork as well as texture in life brings depths and perspective.
I appreciate beauty, not in the classical sense, but the raw, genuine beauty of human beings. When our barriers come down,
our beauty and true colours are given space to expand. Life’s trivialities are interesting. The ordinary makes us realise we are essentially the same. And with this realisation comes less prejudice. I like to look and tell stories which are relevant for our lives.
I aspire to make art which is sincere, blunt and to the point.
Patsy is a sculptor who works in clay, and bronze. She says “Sculpture is the most exciting art form”. She lectures on her experience as a sculptor, hoping it makes the whole world want to sculpt.
Her work has been distributed in galleries in the UK and USA. She is currently preparing for an upcoming solo exhibition.
Mary Ward Centre 2010 - 2017 (Sculpture, life drawing)
WAES ceramics 2014-2016
Chelsea School of Art 2015 evening classes in ceramics
London School of Painting and Drawing 2000-2008
My own life-class workshop in my studio 2000-2005
The Slade school of art summer school 2002
ILEA classes Kensington 1990-2000
“A” level art 1996., ILEA.
“0” Level 1963, St Georges School, Switzerland.
Degree level courses in Writing Birkbeck College University of London, Certificate in Poetry, 2002.
Masters on Short Story, Middlesex University 2007.
PhD in Memoir Goldsmiths College, University of London, 2008-12.
The two pieces exhibiting for Evoactivo, Audrey explores the effects of social media and identity.
How many times have you heard someone say, ‘if I only had more time’ or ‘there isn't enough time’? Was it not Einstein who said - ‘Time is an illusion’? Is time not merely a human construct to measure the days and bring order where there is entropy?
In this world of technological advancement where information is assimilated at break neck-speed and your day often feels governed by another's perspective of time; my work seeks to propose that we ultimately have the ability to set and control the pace of our lives. We are the pendulums.
In my work ‘Rose Tint’ I seek to express the way social media is often presented to or viewed by us. Are we a generation that will be defined by Photoshopped images and Snapchat filters?
In this age of technology, which allows us all to be constantly connected and to share information at incredible speed, are we in danger of only being fed a perception of the ‘perfect’ life. Will this ultimately result in an illusion far from reality?
Audrey is an emerging artist who have exhibited recently at Espacio Gallery and Menier Gallery in London
Rilexie was born and raised in the Americas. She has synesthesia, a blending of her senses where she can translate sound into colours. Each painting is created with a specific piece of music.
Her paintings focuses on the emotional power of colour frequencies to influence our state of mind. Her large multi-coloured canvases presented the viewer with a riot of paint as differing hues flowed into, through and around one another, creating effects ranging from soothing to psychedelic.
Over time, Rilexie’s interests have expanded towards multi-sensory multi-media installations. Her work has become informed by scientific research into the human mind and function of the brain.
She explained in her own words that…….“Painting is like choreographing a dance with colours as the rhythm.
Music and other sounds speak directly into my soul, stirring up bolts of colour from the depths of my unconscious mind and connecting me to the essence of life. Colours have always had a profound meaning in my life. Working with colours is when I feel most alive.
Rilexie has a special interests in the practice of silence, meditation and the power of art to promote personal transformation.
Most of her paintings are in private collection as they are created specifically for clients.