Barry Cawston’s photographic practice is very diverse.  He tends to work in series, seemingly moving randomly between architecture, interiors, portraiture, landscape and social documentary but his style always remains recognisable and have an almost painterly quality that seems both contemporary and classical.

Recently these bodies of work have become larger and more detailed as he has undertaken projects which have taken up to a year to complete. These include Echoes from the Arboretum, Are We There Yet? A Day trip to Banksy’s Dismaland and Weston-super-Mare, Russia ‘Far From Black and White’ and Disturbia (a collaborative project with artist Anthony Garratt). These projects have culminated in high profile exhibitions, published books and touring museum shows. Later this year Cawston begins his biggest project to date 'Threads, A Tale of Two Cities’ which will compare the two historical textile cities of Manchester in the UK with Kanpur in India which will combine elements of his architectural and social documentary themes.

The Yangtze River of Tears                Featured on the Capital Culture stand at Art Karlsruhe 2019

Disturbia   Concept Launch              After Nyne Gallery London

Echoes                                                Observatory Gallery London

Banksy’s Dismaland and Others       Volklingen Hutte (UNESCO World Heritage Site) Germany  May-Dec 2018 then touring Porto, Lisbon,and Madrid in 2019-2020

Threads A Tale of Two Cities             Planned exhibitions TBC in Manchester and Kanpur Summer 2020

Russia Far From Black and White     The Russia Museum November 2019. Touring Moscow, Los Angeles and NYC 2020/21

Benjamin’s work is focused on the construction of imaginary worlds, describing his paintings as 'projective drawings' or as "embedded daydreams". He builds these fantasies in his mind, then using a graphics tablet he makes them reality and then outputs them in one single edition as photographic prints. Benjamin explains, ‘I try and create my worlds to leap out and grab the attention of the viewers, but most importantly I try to sustain that draw for a duration.. to get the viewer to come closer and engage themselves in the detail of the paintings and the atmosphere created by the imaginary environment’.

Buckley is currently producing two large scale bespoke pieces one for a luxury liner in Asia and another to be hung in Silicon Valley.

Julie Leach works with elemental energies, primarily the wind but also rain, frost, dew and snow, to explore phenomena of transience, ephemerality and intangibility. Her practice involves facilitating ‘nature as artist’ to create drawings through direct engagement with the processes of the natural world. The drawings may be an entity in themselves or are developed through the processes of etching or screen-printing into works on paper or silk. Julie plays with transparency, lightness and movement offering inferences of the constant state of flux of all things..

SANDRA JAMES

Sandra James is a recent graduate from UWE whose work has gone from strength to strength in the past year as her clear style and language has come to the fore. She has one several art prizes and two of her pieces have been upscaled to 2m concrete pieces for sculpture trails.

Lily's Urbanska's work is highly refined and sensuous in feel. Born in Penarth, South Wales, she has printmaking in her blood and produces exquisite small edition screen prints. In 2013 she was awarded the Socrates Erasmus Programme and Travel Grant – The Academy of Art and Design, Bergen, Norway

Soraya Schofield works with a number of printmaking techniques, inter-weaving her ideas between photography, screen-printing & Lithography. Experimenting both with traditional photographic techniques and computer manipulation,

These recent paintings display a contrast in both subject matter and approach to image making. There is a simplicity in the subjects, reflective of a solitary moment. Images alluding to wild nature but with calming engaging colours. They reference both floral ecological studies and far eastern print making... and on occasions drift into the realm of abstraction. Both when painting with  watercolour or oils his paintings have a raw empathy and vibrance..

Ian Chamberlains etchings are intricately defined and yet maintain an abstract quality. The majority of the subjects and locations he records were considered at the forefront of technology during their lifetime. Some of those technologies are now defunct or have been reconfigured for different uses. The subject matter therefore is echoed in the process used to record it.  You can see evidence of drawing within the etchings’ continually changing hierarchy and emphasis which brings into focus new elements and pushes others back. The subject itself is removed from its surroundings and the familiar and has an ambiguity of scale and place that adds to the sense of the monumental and projects a feeling of the iconic.