- Fiona Banner
- Sir Peter Blake
- Angela de la Cruz
- Abigail Fallis
- Tom Gidley
- Georgie Hopton
- Rachel Howard
- Des Hughes
- Gary Hume
- Catrin Saran James
- Michael Landy
- Simon Periton
- Jamie Reid
- Jane Simpson
- Sarah Staton
- Gavin Turk
- Rachel Whiteread
- Clare Woods
- The Selection Box- what is it all about ?!
Fiona Banner– “Snoopy Vs The Red Baron” she says about the work “Snoopy is the star character in Charles M. Schulz’s comic strip, Peanuts. As well as being a pet beagle and an aspiring novelist, Snoopy is a World War I flying ace. In this latter incarnation he wants to both become the Red Baron, and kill him. The Baron however, exists only in his mind: a heroicised representation of fear. In The complete text of Snoopy’s Novel the image of Snoopy appears in the centre of The Baron’s Family crest. Behind this is the absurd, hubristic text of Snoopy’s novel.
The title of this series references the 1966 pop hit Snoopy Vs The Red Baron. Shortly after The Baron first appeared in Schultz’s cartoon, the Florida based band The Royal Guardsmen, released their song and Snoopy’s owners promptly sued. In 2012 banner staged a performance of Snoopy Vs The Red Baron in The Welsh Chapel, London.
In this work the image and words are somehow defiled. They allude to the acts of unmaking and destruction, as much as the creative act, examining how we mythologize ourselves and our histories and how we are seduced by the myths of our own creation. Banner references the combative relations not only between Snoopy and his nemeses, but also the heavy handed copyright issues surrounding creative ownership”
Created especially for the selection box, Peter Blake’s delicate screen print is part of his “Found Art” series. Collaged together and embellished by recreating the gold that has faded over time..
Sir Peter Blake (b. 1932, Dartford, Kent) is a British painter, sculptor, draughtsman and printmaker. He is known as one of the leading figures of British Pop art. Since graduating from the Royal College of Art in 1956, Blake has appropriated pop culture icons and advertising imagery to create sincere homages to the likes of Marilyn Monroe, Brigitte Bardot, Elvis Presley and professional wrestlers. His iconic 1961 Self-portrait with Badges, in the Tate Collection, shows Blake holding an Elvis album, dressed in American jeans, Converse trainers, and baseball badges; here is the artist as a genuine fan. In other work he composes assemblages of found objects with humorous allusions to the history of art and childhood fantasies. In 1967 he designed the album cover for The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band in his distinctive style of collage.
He studied at Gravesend School of Art before being accepted into the Royal College of Art, London, where many of the key British Pop artists, including David Hockney, R. B. Kitaj, Joe Tilson, Allen Jones, Peter Phillips and Derek Boshier, also studied. After completing his National Service, he received the Leverhulme Research Award to study popular art whilst travelling throughout Europe. Blake’s first one-man exhibition was held in 1962 at the Portal Gallery; solo shows followed at the Robert Fraser Gallery (1965) and at Leslie Waddington Prints (1969). Since the early 1970s his work has been exhibited regularly in one-man shows throughout the world, including the Nishimura Gallery, Tokyo (1988) and the Govinda Gallery, Washington D.C. (1992). His first retrospective exhibition was held as early as 1969 at the City Art Gallery, Bristol. Peter Blake was elected a member of the Royal Academy in 1981, and was knighted in 2002. In 2007 the Tate Liverpool held a major retrospective of Peter Blake’s work which toured to the Museo de Bellas Artes, Bilbao in 2008.
Angela de la Cruz – “Pinch” Angela has created a painting for each box. She says about the piece “The work is about the pinch you get when you are folding clothes or a bit like a folded page of a book that is closed in a hurry. I wanted to use an everyday colour for the work, so I thought that yellow will be perfect for that. Because the work relates to everyday things. The way the material or body changes when it is disturbed, how it is changing, it interests me a lot. The work is done with the acrylic paint on canvas, to make it dry quickly, thus achieve the effect instantly“
At first glance de la Cruz’s paintings appear to have been vandalised or flagrantly abused. Mangled stretchers, slashed canvases, twisted and violated, are hung on the wall like macabre trophies, and yet it is this deliberate and systematic desecration of the canvases which informs the end result. “The moment I cut through the canvas I get rid of the grandiosity of painting”. Violent, unapologetic and often darkly humorous, her work unabashedly exposes a visceral emotionalism, breaking the barriers of the established norms of painting.
Angela de la Cruz was born in La Coruña, Spain in 1965 where she studied philosophy at the University of Santiago de Compostela. In the late eighties she moved to London where she studied at Chelsea College of Art and later at Goldsmiths College and Slade School of Art. She has exhibited in galleries all oer the world including the show entitled “After”, her first solo exhibition in the UK at Camden Arts Centre in April 2010. In May 2010 she was nominated for the Turner Prize.
Abigail Fallis- “She’s All Heart”. Abigail has created this collage of hand sewn felt laid on top on an intricate, intriguing photo-montage. She says of the work ” When I look at the human heart separated from the body, its almost incomprehensible that this alien like organ, keeps ones body functioning. Leonardo Da Vinci intricately studied the human heart and understood its workings as one of the most refined pumps in existence. Life really is a “game of chance”, “the luck of the draw”, and we all hope and pray that we’re holding a high card” But for how long.
Fallis was born in East London, England in 1968. She works mostly in sculpture and Print, and first came to public attention with her sardonic ‘underwear works’. This framed series of Stitched men’s ‘Y-fronts’ played on the UK’s ‘Cool Britannia’ reputation, presenting the British flag and other symbols of nationhood in stitched-on images and subverted text. Fallis is fundamentally interested in topical issues that affect our daily lives and often deploys a double-edged sense of humour to deliver her ideas. Fallis experiments widely with materials ranging from silver and bronze to textiles and papier-mâché, fish skeletons and shopping trollies. Her works combine an unconventional beauty with subtle comments on issues that trouble her.
Tom Gidley – “Three Masks” He says about the silk screen -“This print is based on one of a series of works on paper made with watercolour inks. They were partly inspired by Rorschach tests, the ink allowed to flow and settle once applied. This one is of three masks, or heads. They float in space, interlinked, their extremely long noses pointing in different directions. They remind me of a speech or thought bubble. They might seem grotesque, sad, or happy. One of them is winking, or maybe squinting. Perhaps it all depends on your feelings about extremely long noses”
Gidley was born in 1968 in Birmingham. After studying at Bournville College of Art, Birmingham and Central Saint Martins, London, he co-founded frieze art magazine. In 1995 he was included in The British Council exhibition ‘General Release’ at the Venice Biennale, and has shown internationally over the last twenty five years. In recent years he has focused on painting, ceramics and writing fiction. His first novel ‘Stunning Lofts’ was published by Metronome Press in 2005, and he has recently completed a second novel, ‘Peasouper’. He will be showing new ceramics and paintings at Rhubaba gallery, Edinburgh this April. His paintings could be described as ‘psychological portraiture’, teetering between figuration and abstraction. The subject often appears to be conflicted or resistant to being represented and viewed – something is always held back, deleted. Backgrounds blend with limbs, faces are altered or erased altogether. Gender is frequently unclear, and beneath the surface tranquility, there is contained chaos. Working in intense and unusual colour combinations, Gidley has said that: “The relationship of colours in my work are ‘unnatural’ just as my subjects appear in relation to or against their backgrounds, because all representation is an act of violence and dislocation, to some degree. The fragile nature of identity is central to my art and my writing. I don’t think it’s ever been more fragile and transient than in this current era, when we are constantly revising ourselves, adapting to social media to create a fictional sense of unity, or the opposite.”
Georgie Hopton – ‘June Bug’ 2015 She says about her beautiful hand made print. “Each summer sees me in my abundant vegetable gardens in upstate NY – and each summer I gather my excess crop, haul it into the studio and cut it up. Dried flower stems crammed into vases, gathered the season previous, the Leather Leaf Vibernum outside the door, thicker and brighter, despite my annual plucking, and the harvest heap, all await my usual pilfering and tinkering. June Bug is a result of these encircling riches and the now habitual printing that feels like a natural response to all this excess”.
Georgie Hopton was born in 1967 in North Yorkshire. After studying at St Martins she has continued to expand her use of different medium, not caring to settle on one as definitive. Her works in photography, collage, printmaking and sculpture are made in conjunction recently with wallpaper and fabric designs – a natural extension of the vegetable prints she makes each summer from her temporary but extensive vegetable garden. Self portraits, studies of flowers and still life are consistent subject threads, woven through forays into abstraction and decoration. Like her heroes of the Wiener Werkstaette and The Arts And Crafts Movement, her heart lies in creation with no boundaries, the melding of art and life, the one reflecting and intersecting the other.
Rachel Howard’s – “Suzie” is a subtle, beautiful & delicate work, wood block printed onto Japanese “Shiohara paper. Each print put through a press and then hand finished with a traditional Japanese Baren tool. She says of her work, ‘since seeing the exhibition at the Royal Academy in 2009 of the Japanese artist Kuniyoshi, I was affected by the delicacy of his line and medium as a whole, especially the way he represents rain and pattern, violence and beauty and have since ventured into this territory making many woodblock prints of which Suzie is one, the contact of the sharp tool on the block is so satisfying but also unforgiving not unlike painting’
Howard was born in County Durham in 1969 and graduated from Goldsmiths College, London in 1991. She grew up on a farm in Easington, County Durham. She attended a Quaker school from the age of sixteen, and the stories, concerns and questions raised by religion have had a profound effect on her work throughout her career. With an oeuvre that suggests the delicacy of flesh, the subjectivity of perception and the complexity of our emotional spectrum, Rachel Howard could be described as a painter of life. Each body of work is directly concerned with exploring the intricacies of what it means to be human, considering our capacity to feel, think, question, hurt, breakdown, worship, sin, rebel or conform. The artist is interested in the extent to which her paintings might physically and emotionally resonate with the viewer, and this is evident in the visceral appeal of the work. It refuses its own self-containment as any distinction between abstraction and figuration is dissolved; Howard sees all painting as a whole, without division, as she instinctively oscillates between both categories, utilising them in equal measure to explore the full emotive potential of her medium.
She was awarded the Princes Trust Award in 1992 to support her art practice and received the British Council Award in 2008 and in 2004 was shortlisted for the Jerwood Drawing Prize. In 2008 Howard designed the front cover for The Big Issue. Recent solo exhibitions include: At Sea, Jerwood Gallery (2015), Northern Echo, Blain|Southern, London (2014); Folie à Deux, Blain|Southern, London (2011); Repetition is Truth, Museo d’Arte Contemporanea Donna Regina, Naples (2011) Howard has upcoming group and solo exhibitions in Naples, Berlin and USA.
Des Hughes – “Thou Shalt Nots” Hughes has created a linocut, delivered with his usual dry wit. He says about the work.. ” It was taken from a quote from Under Milk Wood- ‘Only you can see in the blinded bedrooms, the combs and petticoats over the chairs, the jugs and basins, the glasses of teeth, Thou Shalt Not on the wall, and the yellowing, dickybird-watching pictures of the dead’ a general non-specific term that suggests a list of social and spiritual taboos that might otherwise prevent a good and virtuous life. A list so long that it is not easily written down and so is best shortened to a simple threat to obey or deal with the consequences. It is written like graffiti on an unconvincing woodgrain that seemed to printed onto every wipe-clean surface when I was growing up. It’s back to front and upside down in the hope that it might contain some dark subliminal truth”
Hughes was born in Birmingham in 1970. His work bears witness to an obsessive, physical enquiry into the materials, methods and traditions of sculpture. Hughes re-thinks conventional sculptural materials such as plaster, marble, bronze and clay. Nothing is as it first appears. For example crudely modelled clay is meticulously cast in resin but, with the inclusion of marble dust, it may appear to have been carved and polished from a block of stone or fashioned from a piece of chewing gum. At the same time Hughes also considers the purpose or meaning of sculpture – from the functional doorstop to the sacred effigy such as lies at the centre of ‘Endless Endless’. Traditions are revised as Hughes rethinks ecclesiastical equipment and relics as macabre, joke-shop props or as Modern, abstract sculptural forms (and vice versa). He is also fascinated by the strangeness of British art, whether it be primitive art, strange craft objects or the reinvention of landscape, still life in British Surrealism and modernist British sculptural history. He has guest curated an exhibition at Manchester Art Gallery and has been longlisted for the Fourth Plinth, Trafalgar Square, London. Hughes’ work has been the subject of major solo exhibitions both nationally and internationally including, Laing Art Gallery, Newcastle-Upon-Tyne (2005) Michael Benevento, Los Angeles (2008), Frieze Art Fair (2010), Nottingham Contemporary (2010) Ancient & Modern, London (2012) Buchmann Galerie, Berlin (2013) Manchester Art Gallery (2013) The Henry Moore Foundation, Perry Green, UK (2014) and The Hepworth Wakefield, UK (2015-Spring 2016)
Gary Hume – “Blue Nun” is an exquisite work. Each silk screen is hand cut, printed onto an exceptionally thick paper in layers of high gloss, making the blue colour sing and the surface feel three dimensional. Expertly produced by Mark Jenkins at K2, each print is full bleed with the image hand cut.
Hume RA first came to prominence with his Door paintings in the 1990s. Hume represented Britain at the Venice Biennial in 1999 with his ‘Water Paintings’ which consisted of the overlapping outlines of female nudes. Other notable phases in Hume’s development as an artist include his ‘Cave Paintings’ with images made of different marbles, and ‘American Tan’ which explored the impact of the global spread of American culture. Since then his work predominantly consists of appropriated images from popular culture or nature, depicted in glossy paint on aluminium. Recent solo shows include Tate Britain, London, ‘Gary Hume: Flashback’, Arts Council Collection, touring; ‘The Indifferent Owl’, White Cube, London; ‘Structure and Absence’, White Cube, London.
Catrin Saran James has created a print combining silk screen colour over digital black and white, collaged from archival images she has sourced. She says of the work “Influenced by the colour scheme of Neopolitan ice cream, ‘Tuck Shop’ is a celebration of the modernist design features that blazed a trail throughout the post war architecture of Britain. Features that now have either been ignored or been ingrained in our urban daily grind”
James was born in Swansea in 1978. She graduated with a fine art degree in painting and now works in digital collage, print and film. A life-long obsession with the history and design of mid century architecture and British post war housing projects, of the kind in which her family lived, gave James her subject matter early on. Whether cleaning neglected structural design features on 1950s municipal buildings through her act of ‘Guerilla Restoration’, or creating nostalgic photomontages using archive photographs of post-war town centres, the role of artist and archivist intertwine in her practice to scratch the surface of this newly celebrated period in architectural design.
Michael Landy – “Fill my Bin” (2016– Silk screen on box board). Which he created after he “Spent the whole day yesterday spreading legs and filling bins” but he is quick to point out that “(ps- I don’t own a pair of white socks)”
Landy was born in London. He studied at Goldsmiths in London, having been inspired to take up art professionally after having a picture selected for display on the BBC television art program Take Hart. After graduating in 1988, he was part of the YBA generation that created the Freeze exhibition.
His first solo exhibition was Market (1990), an installation comprising numerous empty market stalls. Like much of his later work it was intended as a comment on consumerism and society. In 1995 Landy created “Scrapheap Services” a fictitious cleaning company which sought to change society by way of “a minority of people being discarded”. Promotional videos were made for the company and a large number of cut-out men were made from old magazines to be swept up and destroyed.
Breakdown, the work which put him in the public eye, was held in February 2001 at an old branch of the clothes store C & A on Oxford Street in London. Landy gathered together all his possessions, ranging from postage stamps to his car, and including all his clothes and works of art by himself and others, painstakingly catalogued all 7,227 of them in detail, and then destroyed all in public. The process of destruction was almost like a factory, with ten workers reducing each item to its basic materials and then shredding them. At the end of the process all that was left was bags of rubbish, none of which was sold or exhibited in any form, except for the edition of inventory books, listing all destroyed items, available to buy when exiting through the gift shop. Landy made no money as a direct result of Break Down, and following it had no possessions at all.
On 29 May 2008, Landy was elected a member of the Royal Academy of Arts in London. His Art Bin installation for the South London Gallery, which was described by the artist as ‘a monument to creative failure’. A large transparent skip was installed at the gallery, into which he invited the public to throw art work with which they were dissatisfied….
Simon Periton – “Gold Digger” We are delighted to have this wonderful sculpture set into the base of the box. Periton says of the work: He says of the work- “Gold Digger is a re-working of an earlier cut paper piece, developed out of my fascination with alchemy and transformative chemical processes. It might be a mask or possibly a tool to delve deeper beneath the surface. It has been water cut in brass and double dipped in gold”
Periton was born in 1964 in the Garden of England and studied at Central Saint Martins School of Art, London. “Much of my work has been concerned with ideas of the decorative with a focus on the subversive potential this can open up. Decoration and the decorative surface have always been fertile ground for me, allowing a degree of creative manoeuvring that can be both playful and thoughtful. Penetrate and slip beneath this surface, and there is often a rich murky underworld to be explored”
Jamie Reid- “Lunar Hare” This hand printed and painted watercolour piece is playful and full of references. Reid says of it “The Hare is the Trickster, the Free Thinker… and is a specific reference to Beuys. The moon is female. The primary colours are also a nod to the Bauhaus and Kandinsky’s Colour Theory” – It is indeed truly magical.
Jamie Reid (born 1947) is an English artist and anarchist. Jamie Reid’s longstanding practice as an artist sits firmly within a tradition of Enfglish radical dissent that would include, for example, William Blake, Wat Tyler and Gerard Winstanley. Like them the work of dissent must offer, out of necessity, other social and spiritual models and Reid’s practice is no exception.
Although Reid is known primarily for deployment of Situationist strategies in his iconic work for The Sex Pistols and Suburban Press, the manifold strands of his art both continue that work whilst showing us other ways in which we can mobilise our energy and spirituality. It is this dialectic between gnosticism and dissent that lies at the heart of Reid’s practice and makes him one of the great English iconoclastic artists.
Jane Simpson – “Sacred” Simpson is creating a unique piece for each box. Hand cut ‘cabinets’ are gathered and arranged on the paper, which is then hand marbled. Each piece will be unique and the marbling will vary. She says of the work. “Sacred” 1994 was a sculpture that was very important to me personally. A labour of love, hand built and crafted, on a creative journey that took nearly a year. It lived a short but eventful life, exhibiting at the Serpentine and going on an international tour. It came to a sad end, burning in the Momart Fire of 2004. This piece for the box is about my desire to remake this work, re-animating it and revisiting, focussing on its animal like qualities.
Jane Simpson – is an artist, curator and publisher. She was born in 1965. She graduated from the Chelsea School of Art in 1988 and earned an MFA from the Royal Academy of Art in 1993. As an artist, she is probably best known for sculptures made from rubber, ice and refrigeration units, with shows around the world including New York and London. Her work is held in leading collections and has been featured in seminal exhibitions, In 1994 she was included in the seminal exhibition “Some Went Mad, Some Ran Away,” curated by Damien Hirst, at the Serpentine Gallery, London. Simpson’s work was also part of the controversial “Sensation” exhibition of 1997. Her work has been exhibited internationally in London, Madrid, Stockholm, Edinburgh, Berlin, Seoul, Caracas, Rio de Janeiro, and New York.
Simpson’s work is part of many public and private collections including the Saatchi Collection, Arts Council of England, Damien Hirst’s Murderme Collection, Contemporary Art Society, London, British Council Collection and the Colección Ciudad de Pamplona. During her career solo shows have been accompanied by regular curatorial and collaborative projects, including kissingcousins (2007, Henry Moore Institute, Leeds) and Daddy Pop (2004, Anne Faggionato, London). Appointed as production manager for several high profile charities, she has created portfolios for Cubitt Artists and The House of Fairy Tales, publishing limited edition prints with some of the world’s leading artists including Rachel Whiteread, Gavin Turk, Sir Peter Blake, John Stezaker, Alex Katz, and Harland Miller.
Sarah Staton- “The Esperanto of Currency” Staton has made us some money… A beautiful digital print, embellished with a silk screen gold coin. She says of the work- “¥ € £ $ and ₹; is a repeat motif created from these overlaid global currency symbols. The Esperanto of Currency was created for a recent exhibition of the same name, offering a topical riposte to current debates on global markets, stretched economies and siphoned hyper-wealth. For Galerie Simpson a golden Bit Coin is gloriously embossed over this net of interlocked nation specific currency.
Staton was born in 1961 in London. After studying at St Martins College of Art, she co-founded Milch Gallery, the first of many collaborative artists initiatives, that include SupaStore, THE SCHTIP and most recently Pea Proposals. Within her commissions and studio work Staton uses materials’ affective dimension – their ability to trigger associations and psychological responses – to supplement the established modernist coupling of form and function with a third term, feeling – an important but elusive texture for public art and urban design.Through ‘threshold sculptures’ which are simultaneously formal and functional, aesthetic and utilitarian, her off modern practice questions how design and the specific haptic properties of materials can dynamise site and experience.
Turk has pioneered many forms of contemporary British sculpture now taken for granted, including the painted bronze, the waxwork, the recycled art-historical icon and the use of rubbish in art. Turk’s installations and sculptures deal with issues of authorship, authenticity and identity. Concerned with the ‘myth’ of the artist and the ‘authorship’ of a work, Turk’s engagement with this modernist, avant-garde debate stretches back to the ready-mades of Marcel Duchamp. In 1991, the Royal College of Art refused Turk a degree on the basis that his final show, ‘Cave’, consisted of a whitewashed studio space containing only a blue heritage plaque commemorating his presence ‘Gavin Turk worked here 1989-91′. Instantly gaining notoriety through this installation, Turk was spotted by Charles Saatchi and was included in several YBA exhibitions. Turk’s work has since been collected and exhibited by many major museums and galleries throughout the world.
Rachel Whiteread- ‘Llansteffan Stairway’ She says of the image “This is a photograph of a concrete staircase on Llansteffan Beach in South Wales in 2012. I have worked with staircases for many years, taking photographs, moulding and casting, culminating in large sculptural forms” The image takes us back to photo albums of the past, when our memories were captured in small form, 3 x 4 inches.
Whiteread is one of Britain’s leading contemporary sculptors. Born in London in 1963, she studied painting at Brighton Polytechnic from 1982–85 and sculpture at the Slade School of Fine Art from 1985–87. She shot to public attention in 1993 with her sculpture, “House,” a life-sized replica of the interior of a condemned terraced house in London’s East End which provoked intense public debate until it was eventually demolished in 1994. She won the Turner Prize in 1993.
Over the last decade she has developed a significant international reputation, creating major public works in both Europe and the United States. Her winning proposal for the Holocaust memorial at the Judenplatz in Vienna was one of the most prestigious sculptural commissions in Europe in the 1990s. This piece involved placing the cast interior of a library, including imprints from the books on their shelves, into the centre of the square. It was unveiled in October 2000. She represented the UK at the 1997 Venice Biennale and created “Monument” for the empty plinth in Trafalgar Square in 2001. Her “Water Tower” (1998) was just reinstalled on the roof of the Museum of Modern Art, New York this autumn. Other noteworthy solo and group exhibitions include “Rachel Whiteread,” Serpentine Gallery, London (2001, traveled to Scottish National Gallery of Modern Art, Edinburgh); “Transient Spaces,” Deutsche Guggenheim, Berlin (2001, traveled to the Solomon R. Guggenheim Museum, New York through 2002); Kunsthaus Bregenz, Austria (2005); MADRE, Naples (2007); Museum of Fine Arts, Boston (2009); and “Rachel Whiteread: Drawings,” Hammer Museum, Los Angeles (2010, traveled to Nasher Sculpture Center, Dallas and Tate Britain). Aside from the already mentioned House (1993),Water Tower (New York, 1998), and Monument (London, 2001), another notable public commission is Embankment at Tate Modern Turbine Hall (2005). She lives and works in London.
Clare Woods – “One Pair of Feet” Each work is a unique watercolour, painted over an existing black and white image. Clare Woods says about her work: “I am incessantly fascinated with transforming sculptures into two-dimensional, yet tactile, forms. This piece was inspired by a Georgian etching of carved stone penises; I really wanted to capture the solidity of the three dimensional form within the fluidity of the brushstrokes of the painting, reflecting the qualities of the original sculpture; simultaneously soft, smooth, curvaceous yet firm, deep and tactile.”
Woods is a painter who’s paintings feel very sculptural. They combine a fluidity and confidence of brushstroke and coherence, and a homogeneous surface, from seemingly disparate subject matters, from the bunion specialist, silent German bombs Euardo Paolozzi wax heads, First World War bandage manuals, a bird’s nest, dismembered statues, Louise Bourgeois, 7/7 London bombings to cuckoo feeding patterns. the net for her source material for her latest work appears widely flung. While the paintings feel resolved and solid there is also a glimmer of uncertainty, a teetering on failure, an anxiety and tension that is ultimately what holds them together and ensures their success. I’ve realised it’s not static. Everything you look at, or observe affects you and feeds the next thing… I’m sure as things change it will become more contained again and it will come to a point where it’s not moving so fast and I’ll develop within those boundaries but at the moment it’s changing every day. Born in Southampton in 1972 and lives and works in London and Herefordshire. She completed an MA in Fine Art at Goldsmith’s College, London in 1999, after a BA in Fine Art at Bath College of Art, Bath, in 1994. Woods was commissioned by Contemporary Art Society Consultancy for a major commission at the Olympic Park, London in 2012. Woods’ paintings have been the subject of solo exhibitions. Woods’ current touring exhibition A Tree A Rock A Cloud, has travelled around Wales, from the Oriel Davies (September 2014) is currently at Oriel y Parc in St Davids.