The Young Masters Invitational Exhibition

Alisha Gent’s work accumulates references from art history and ceramic traditions, teasing influences from Renaissance iconography and composition. Her influences are far ranging; from Fra Angelico’s ‘The Annunciation’ and Bosch’s ‘The Garden of Earthly Delights’, to Abstract Expressionist mark making, Rococo architectural relief and Modernist sculpture. These inspirations are brought to life through traditional pottery techniques of throwing, and hand-building methods of coils and slabs, embodying a postmodernist mindset of collaging these different aspects whilst embracing contemporary aesthetics and technology. Thrown clay is stretched and torn, then stacked and collated in a curious, playful way. Expressive, vibrant, painterly glazes layered and splashed to enhance these experimental forms.

Alisha is a recent graduate, recently receiving a BA (Hons) Ceramics, Cardiff Metropolitan University. Group exhibitions include ‘Transition 573’, Llantarnum Grange, Cardiff (2023), ‘With Oil and Water’, Reddoor Rye (2019) and The Ashdown Gallery, Forest Row (2017). Awards include Female sculpture, 3rd in ceramics, Young Craftsman of the Year (2019), Hares, 1st in Ceramics, overall silver, Young Craftsman of the Year (2018), Young Arts Golden Jubilee Award, The Arts Society Sussex (2018).

Alisha Gent was a finalist for the Young Masters Maylis Grand Ceramics Prize 2023

The ‘Moon Jar’ is a representative Korean traditional pottery of the Joseon Dynasty that has contributed the elevated reputation of Korean ceramics worldwide. Historically, the moon jar was associated only with male roles, as women were not allowed to produce or access the studio due to the belief that they brought bad luck. To overcome a childhood and adolescence coloured by this belief (and accompanying abuse), SaeRi began destroying her works to reveal her trauma, incorporating shapes from Korean representative ceramics as her cultural background influenced her mental struggles. By detonating the beautiful pottery, she stepped forward and started communicating with the world.

SaeRi Seo studied ceramics for her BA at Seoul Women’s University, and lwent on to complete a Masters in Ceramics and Makers at Cardiff Metropolitan University in 2022. Recent exhibitions and awards include: NAE Open 2023, New Art Exchange (2023), RBA Rising Stars Exhibition, The Royal Over-Seas League (2023), and nominated as a finalist for the BADA Art Award (2022).

SaeRi Seo was the winner of the Young Masters Emerging Woman Artist Award 2023

Sara Dodd paints intuitively with porcelain clay in its liquid form, slip, reimagining this traditional material into wafer-thin strata of beauty, delicacy and strength. Working intuitively and meditatively, these strata are layered to create a canvas of pattern, contrast and harmony. Pigments are added by hand to liquid clay, experimenting methodically to create the fluid palette of indistinguishable colour gradients that often feature in the work. Firing the clay itself is important tool - the extreme temperatures inside the kiln creates unpredictable moves and shifts. Embracing this dynamism, Sara’s pieces capture a moment in time from the firing. Each outcome is a balance of design and chance, capturing freedom and individuality. Torn, uneven edges of porcelain catch the light, while simultaneously casting shadow to the layer behind. Through the use of layering paints these same themes of light and darkness have been explored extensively since the 17th century. Here, they are used to create intimacy, the play of light drawing the eye, directing it from one layer to the next

Sara Dodd is an award-winning ceramic artist living and working in London. She is a graduate of Cardiff Metropolitan University (2013) after which she held an assistant position with Katharine Morling. Her work ‘Swell’ was exhibited at the Royal Academy’s Summer Exhibition (2017) where it enjoyed a highly successful run and went on to be featured in Elle Decoration (2019). She received an honourable mention at the International KOGEI Crafts Awards, Japan (2021), and her ‘Monochrome Maquette’ was awarded with a 3D Art Prize at the Wales Contemporary Open (2022). In 2021 Dodd joined the Craft Potters Association (CPA) and Contemporary Applied Arts (CAA), in recognition of the high quality of her craftsmanship. In 2022 she received the Rosalind Stracey Ceramics Award from Cockpit Arts and moved her studio to Deptford, South East London. Her work is exhibited regularly across the UK as well as internationally in Europe, USA and the Middle East.

Sarah Dodd was highly commended for the Young Masters Emerging Woman Artist Award 2023

Nourine Hammad is a contemporary Egyptian-British artist currently living and working in London. Her work is characterised by meticulously crafted and highly detailed photo and hyper-realistic drawings that explore issues around representation, truth and deception. Referencing a range of sources, from popular cartoon figures such as Mickey Mouse and Pinocchio to inflatable balloon letters from the Arabic alphabet or Ancient Egyptian hieroglyphs, Hammad takes the icons of capitalist culture and historical belief systems and reflects them back at us with uncanny precision and satirical wit. Her pop and vivid images, which often employ trompe l’oeil techniques, are deceptive, and delightfully so. They are also deeply subversive with the effect of drawing into question many of the representational values and attachments to truth we all hold dear.

Nourine Hammad was the winner of the Young Masters Lerouge Knight Cross Cultural Award 2023.

Ramon Omolaja Adeyemi

Through his painting, Ramon aims to make fleeting moments stand still through the strokes of brush and colour. The View from a Window is a landscape painting of enthusiasm born out of love for beautiful sceneries. It captured the essence of how far the eyes can see from a point of view. The significant feature of this painting is the interaction of nature with human settlement. There is no awkward interference in the structured settings of this settlement.

Ramon was born and educated in Nigeria, followed by a career working as Principal Technical Officer at the National Gallery of Art, Nigeria. He now lives and works in the UK. Recent exhibitions include the 19th Asian Art Biennale, Bangladesh, (2023), London Art Fair (2023), Manchester Art Fair (2022), Manchester Open Exhibition (2022), British Art Prize (2022), ‘Young Masters Autumn Exhibition’, The Exhibitionist, London (2022), ‘Artbox’, Projects Palma 1:0 (2022), Swiss Art Expo (2022), Sky Portrait Artist of the Year (2022), and ‘Beyond Landscapes’ curated by Cotton On Manchester at Saul Hay Gallery (2022).

Ramon Omolaja Adeyemi was a finalist for the Young Masters Art Prize in 2023

Natasha Muluswela

Natasha’s work takes a conceptual standpoint by integrating moving images, imagination and fine art, reflecting her keen interest on how these three things can intertwine together to tell a different narrative. She uses symbolism of faceless figures to challenge the viewers’ preconceived perceptions and ideologies of what it means to occupy space as a migrant, shedding light on the deep-rooted realities of racism, discrimination and marginalisation in a post-colonial oppressive system. The work challenges views on not only Africa’s political past and present but its potential and future.

Natasha Muluswela is a self-taught, Zimbabwean-born visual artist based in the United Kingdom. She graduated in 2017, obtaining a degree in French and Spanish at Nottingham Trent University. She has been selected for the ING Discerning Eye, Mall Galleries (2021), Threshold, D Contemporary Gallery, London (2021), The Ruth Borchard Self-Portrait Prize 2019, London, (2019), and Black History Month’, at Uber, London (2019). In 2022 she was awarded the ACME Alternative Pathway Award, receiving a six-month long studio residency, materials, and a bursary from ACME.

Dola Posh

Dola’s series, ‘Omo mi’ in Yoruba, meaning “my child”, delves into the profound and transformative journey of becoming a new mother. Through this body of work, she captures the delicate and life-changing experience that motherhood brings. Reflecting on her own childhood, she developed an appreciation for the beauty inherent in her Nigerian tradition and culture. ‘Omo mi’ serves as a testament to the universal experiences of new mothers while embracing the distinct cultural influences that shape her identity. We are invited to join the artist on this intimate and transformative journey as we celebrate the strength, resilience, and love that define the delicate yet life-changing role of being a mother with inspirations from our past generations.

As a black Yoruba woman, Dola Posh finds inspiration in nature, culture, and tradition. She is passionate about capturing the essence of everyday life through photography and self-portraiture, and is committed to fostering creativity in others and sharing artistic ideas. Her exhibitions include Onwe Press ‘Daughters of Nri’ (2019), Tower Hamlets and Alternative Arts, ‘Beauty and Power’ (2021 and 2022), and Artichoke Trust ‘The State We’re In’, #TheGallery Season 2 (2023).

Lucy Smallbone

Nothing in our lives except big milestones are documented as much as holidays. Photos, film and other people’s narrative often distorts them. So memories become an ever-changing truth, peppered with strong feelings and senses. You probably can’t remember the entirety of a view, but you might remember the sunlight being so bright that you had to shield your eyes, or the smell of rain on hot terracotta. It is this interplay of sensual memory that Lucy explores in her work; over saturating colour or distorting marks to try and stir memories. There is also a beauty in trying to remember something and paint it, because at some point paint and the art of painting takes over. Like memory, in painting things continously slip and change.

Lucy Smallbone studied painting at City and Guilds, followed by a Masters in Fine Art at The Slade School of Fine Art, London. Her work has been presented at solo exhibitions at Fiomano Clase, London (2018 and 2021), HSBC, London (2018), and The Space Station Gallery, London (2017). Notable group exhibitions include ‘Wish You Were Here’, Tag Fine Art (2023), ‘A Slash of Blue’, Gerald Moore Gallery (2023), ‘Landscape Artist of the Year Exhibition’, Clarendon Fine Art (2018), and the Ingram Purchase Prize, Cello Factory, London (2018). She has also received notable scholarships and awards, including the Duveen Travel Prize to Chernobyl (2015), The Haworth Trust Award for Painting (2010) and The David Ballardie Travel Award (2009)

Lucy Smallbone was a finalist for the Young Masters Art Prize in 2023.

Joshua Donkor

Joshua Donkor is a Ghanian-British painter whose work uses portraiture as a tool to subvert monolithic portrayals of Black identity. Donkor approaches portraiture as a collaborative exercise between him and his sitters. Although the subject matter of Donkor’s paintings is deeply personal and completely idiosyncratic, often having to deal with specific African roots and the individual experiences specific people have had growing up Black in Western societies, everyone can respond deeply to the images. Somehow, widely relatable experiences are communicated through the specificity of the images.

Donkor’s work has been exhibited at the Royal Society of Portrait Painters Exhibition (2023), RBA Rising Stars, (2023, Solo Show). I have more souls than one, Bankside Hotel, London (2023), The Discerning Eye (2022), Skin and Masks, The Kavi Gupta Gallery, Chicago, (2022), Bath Society of Artists Exhibition, The Victoria Gallery, (2022), Souls and Spirits, Voltz Clarke Gallery, New York (2022), and Portrait Artist of the Year: The Exhibition, The Compton Verney Gallery (2022). His commissions include Tate Collective and The National Library of Wales. He has been selected for the Holburne Artist Residency and The Signature Art Prize.

Joshua Donkor was a highly commended for the Young Masters Art Prize in 2023.

Megan Baker

Unfolding through layers of impasto, Megan Baker’s oil paintings suggest an ever-changing state of being, where fragmented and gestural figures are continually interrupted by the immediacy of the paint. Focusing on the physicality of the medium itself, Baker’s practice is centred on the way time can be experienced through painting. Baker uses paint as a way to expand and extend time in a world where everyday encounters feel so instant and condensed. In turn, the perception of time shifts and evolves as one is absorbed by the search and discovery of the next hidden detail. Multiple dualities collide in Baker’s practice: abstraction and figuration, the real and the imagined, the hidden and found, all coexist in the pictorial surface. Paint continually moves back and forth, located in this in- between state where nothing seems fixed. This plurality of themes exhibited in Baker’s work is reflective of the artist’s wide array of references, spanning from the films of Andrei Tarkovsky to the writings of Joan Didion to the masterpieces of Tiepolo and Titian.

Megan Baker studied BA (Hons) Fine Art, Central Saint Martins. Exhibitions include ‘Where the Ground Meets the Sky’, solo exhibition at Gillian Jason Gallery, London (2022), ‘Beyond Figuration: Then and Now’, Gillian Jason Gallery, (2023), ‘Homecoming’, Gallery 2, Tel Aviv, (2023), ‘Reclaiming the Nymph: A Force of Nature’, Gillian Jason Gallery,(2022), ‘A Land Where Other People Live’, Sixty Six, London, (2022), Art on a Postcard Auction, All Bright Mayfair, London (2020), The Hix Award 2019, Hix Art, Tramshed, London, (2019), Clyde and Co Art Award, London (2018).

Megan Baker was a finalist for the Young Masters Art Prize in 2023.

Oriel Zinaburg

Oriel is inspired by nature, art history and the materiality of clay. The challengingcharacteristics of clay, as well as the processes of glazing and firing are inspirational, leading Oriel to constantly experiment and search for new forms.

After completing military service, Oriel studied fine art at the Bezalel Academy for Art & Design in Jerusalem for two years. In 1997 he moved to London to study architecture at the Architectural Association School of Architecture. He has since worked in London as an architect for 15 years (AA Dip RIBA Part 3 in 2012).

In 2018 he joined the Turning Earth Ceramic Studio, where he has worked with clay during his spare time. In 2020, due to the Covid pandemic, Oriel joined the Turning Earth ‘In Production’ program, which enabled him to work full time as a ceramicist in a studio in Leytonstone.

Recent exhibtions include: ‘When Feeling Out of Sight’, Candida Stevens Gallery, UK (2023), Collect, London (2023), LOT Exhibition, Cromwell Place (2022), The Eye of the Collector (2022), and Ceramic British Biennial, Fresh, Stoke-on-Trent, UK, (2021).

Oriel Zinaburg was a finalist of the Young Masters Maylis Grand Ceramics Prize 2023

Olga Morozova

Olga Morozova deliberately chose the palette of Fauvism; all of her work is life in active colourism. Mysterious fusion with her native city of Kyiv creates a sublime energy that is transferred to the canvas. For Olga, the interaction of spots and dots, the movement of colour plasticity, and the organisation of the flow of colour are important.

Since the beginning of the Ukraine War, texts have appeared in these works. Excerpts of the texts of the Radzivyli Chronicle about the fortification of Kyiv in the 12th century, or the prayers chanted on the walls of Sophia of Kyiv intertwine with texts warning about air raids that we read every day on our smartphones. They were already reflected in the subconscious. In general, the canvas is a fabric of time where all times coexist.

Morozova has represented Ukraine at ‘100 Women Artists around the World’ at Z-art Gallery, Dubai (2019), and at the 19th Art Asian Biennale, Bangladesh (2021). She has exhibited widely in Ukraine and across Europe. In the UK her work was presented as part of the exhibition ‘Flowers from the Frontline’ at the Garden Museum, London (2022). Her work is on display permanently at the National Academy of Arts and Architecture in Kyiv, and held in the collections of the National Reserve Sophia Kievska, Museum of Kyiv History, Museum of Contemporary Art (Huesca, Spain), and private collections across the world.

Rosie Emerson

Rosie Emerson creates unapologetically feminine works on paper. Her figures draw reference from archetypes old and new, from Artemis to the modern-day super model. She refuses to shy away from aesthetics and fully embraces arts ability to both transport and bring about a sense of wonder. Inspired by her love of theatre, performance, shrines and rituals, she uses lighting, costumes, set and prop making, alongside printmaking and painting to create other worldly one off pieces. Her photography is inspired by both the drama of the baroque, and ethereal qualities of Pre Raphaelites works. Other important influences include late medieval and renaissance paintings, artists Max Ernst and Joseph Cornell and magical realist writer Angela Carter.

Emerson’s work is widely collected and exhibited both in the UK as well as internationally, through galleries, art fairs and museums. She recently created works for The Dorchester Vesper bar and created a Guinness world record by making the world’s largest Cyanotype photograph, the final artwork measuring 46.8 sq metres. She has been awarded the Bridgeman Studio Award and took part in the Young Masters Art Prize, 2015 and 2022. Her work has also been featured in Vogue, Harpers Bazaar, Another Magazine, The Financial Times Magazine and The Sunday Times Style Magazine.

Rosie Emerson was a finalist for the Young Masters Art Prize in 2023.

Edgar Ward

Edgar Ward (born 1995, Australia) studied at the City and Guilds of London Art School, completing an Art Foundation and subsequently studied stone carving for three years. He has participated in a number of exhibitions, including ‘Thrown Contemporary at 51 Southwark Street’ (2021) at London Bridge; ‘3D Clay Printing’ (2021) at London Design Festival, Brompton Design District; and ‘The Power of Material: From Virtual to Physical’ (2021), at the Design Museum. He has won a number of awards such as, the Art Feature at Crafts Magazine in 2021 and The Charlotte Fraser Prize in 2021.

Growing up in Islamabad, New Delhi and Paris, Ward developed a deep interest in the art and architecture that surrounded him. This fascination with his surroundings in the urban environment and the visual merging of history, nature and contemporary lives and cultures remains key to his interests and informs his work.

Ward’s current work seeks to animate material to express fragmented stories. Using a process of working from observation, memory and intuition, he builds and combines evocative forms and textures that often reference art history. The work moves between figuration and abstraction, with defined elements set within expressive and emotive environments that enclose or hold the subject. He is interested in working between disciplines and expanding the potential of established art forms, through finding new approaches to working in three dimensions and incorporating digital modelling and 3D printing technologies within historic processes and materials.

Edgar Ward was shortlisted for the Young Masters Invitational Exhibition 2022.

Camilla Hanney

Working through ceramics, sculpture and installation Camilla’s practice explores themes of time, sexuality, cultural identity and the corporeal, often referencing the body in both humorous and challenging ways. By subverting traditional, genteel crafts she attempts to transgress and contemplate conventional modes of femininity, deconstructing archaic identities and rebuilding new figures from detritus of the past. By materialising the familiar in an unfamiliar context her work stimulates our ability to rethink our relationship towards objects, threatening the natural order and toying with the tensions that lie between beauty and repulsion, curiosity and discomfort, desire and disgust.

Camilla Hanney is a Graduate of Goldsmiths University Masters of Fine Art programme (2017-2019) and also Dun Laoghaire Institute of Art, Design and Technology (Visual Arts Practice 2010-2015). Since moving to London, her work has been exhibited by a diverse range of galleries including the South London Gallery in conjunction with Bloomberg New Contemporaries, No. 20 Arts, Muse Gallery, Dora House, Messums, Cynthia Corbett Gallery, The Rosenfeld Gallery and Cromwell Place Gallery. Hanney was the 2019/20 recipient of the Sarabande foundation studio bursary. Awards include: UK Young Artist of the Year (runner up award), ‘Committee’s Choice’ prize at ‘Exceptional’, Collyer Bristow Gallery, Zealous: Sculpture Stories Prize, Gilbert Bayes Sculpture Award winner (2020), Irish Visual Arts Bursary Award (2020), Glass Lab Award (2021), Newbury Trust Craft Excellence Award in conjunction with Cockpit Arts (2022). She was selected for the 2022 Artist initiated projects in conjunction with the Irish arts council, granting her a funded solo show at Pallas Project Gallery, Dublin. Her most recent exhibition ‘A Common Thread’ was held in Linenhall Arts Centre, Ireland.

Camilla Hanney was a finalist for the Young Masters Maylis Grand Ceramics Prize 2023

Jasmine Su Juanyan Gardner

Jasmine Su Juanyan Gardner (born 1997, Suzhou, China) is a Manchester based artist who graduated from Fine Art and Art History and is currently studying a theory-based MA in Research at Manchester School of Art. Gardener has exhibited in a number of exhibitions, including Short Supply (2021) in Manchester, gallery representation with De Lacey Fine Art, Deansgate, in Manchester and exhibitions at Manchester School of Art.

Having been born in Suzhou, China and adopted into a white family from Essex, UK from the age of seven months old, Jasmine has been able to deploy her unique perspective of being a Chinese woman and exposure to the Western art world to create an interdisciplinary body of work.

Though her love for vivid colour, mixed media and surrealist motifs have been a constant interest in her work, subjects and aesthetics of Chinese influence was somewhat forced upon her based on the premise that she physically looks Chinese. With the vague brief from an undergraduate tutor to “explore her heritage”, a heritage of which she has no direct connection with, she decided to take matters into her own hands and utilise her interest in paying homage to historical craft and confronting xenophobia toward the Chinese and East/South-East Asian community.

By using paint, ink and ceramics Jasmine brings traditional Chinese objects, craft, aesthetics, and creatures into a contemporary context by creatively interweaving colour, material and subjects that would not normally cross over. Subjects of the work often aim to pair symbolism with her developed style that emulates a fluidity that resembles her search for a fluid sense of cultural identity. Her work allows her to connect with and maintain an explorative interest into a heritage of which she, and the viewer, may have such limited knowledge.

Tom Farthing

Tom Farthing’s work takes his experience of the visual world as a starting point for generating paintings that explore colour relationships, surface and the haptic. Through his painting he seeks to make equivalences for visual experience, and is interested in the appearance of things in the world and how these can be transformed into painted images. Often the paintings take glimpsed moments as their subjects, fleeting sensations and memories. The way colour can create a sense of luminosity and space is a recurring concern within his painting. He is influenced by the ideas that formed the basis for Modernism, both in Europe and America, as well as older narratives and moments in art history, and works to explore their potential relevance for the present. He works from a combination of source materials such as drawings, sketches, and photographs. Visual notes and material gathered almost accidentally in the course of his movements through the space and time are used to generate paintings in the studio. A sense of the importance of drawing and thinking through making underpins his practice.

Lucy Cade

"I make work about the feminine and motherhood, currently with a focus on postnatal psychosis (a mental illness that affects women after childbirth). Employing film imagery, I reference the cult of cinema and its histories to interrogate the depiction of women. My light-touch use of paint and cool, almost monotonal palette can suggest the seductive qualities of film while also critiquing them.

In my most recent body of work, women in films (directed by men) undergoing mental distress are painted in new combinations/contexts, suggesting secret narratives that are perhaps reflective of the embodied experience of psychosis, of which I have personal experience. The 'trace of trauma' is present in the work: I paint both through voile (creating trace images) and wet-on-wet, with a thick underlay of pale pink or blue, and with more than a hint of the saccharin. More figural than figurative, these marks perform the uncanny. The painterly touch is tender but slippery; the images are fragile and slip from the gaze, oozing into pure paint. I have employed an oval cameo shaped support to allude to the historical tradition of female portraits as sentimental keepsakes - but in contradiction to this, the women I portray seem in a darker mood.

Physical structures traditionally used in religious contexts - tabernacles, folding screens - continue to appear in my sculptural practice, as well as associations and imagery with female religious figures such as the Virgin Mary." - Lucy Cade

Daisy McMullan

Born 1985, UK

The act of painting is an act of preservation; of a moment, a feeling, movement, colour, form. Inspired by the language of painting, and the poetics of nature, Daisy’s paintings are observational and emotional documents of the natural world around us. Each painting is an individual meditation on rewilding with an expanded meaning; not only the wilding of a place, but also of the mind, the self, the soul. The Romantic ideals of returning to nature, individual spiritualism, and treading ancient paths to commune with the metaphysical are highly influential on the process of making these works. They also reference Dutch still life painting, where life, death and spirit are carefully balanced and observed. These paintings are crafted from layers of colour, and energetically painted marks. Often, they depict mundane places; edges of footpaths, riverbanks, an uprooted tree. The themes of edges, incidental spaces, and pathways are richly entangled. Daisy often works in series, where different routes and themes become narrative mappings through time and geography. The works are created using experience and observation, as well as imagination and memory.

Daisy trained as a fine artist at Wimbledon School of Art and Camberwell College of Arts, receiving a BA(hons) in Painting in 2007. She later studied for a Masters in Curating at Chelsea College of Art and Design, and was awarded a two-year Research Fellowship in 2012 at Chelsea Space, a public gallery at the College. She has since worked as a curator in educational and community contexts, supporting other artists, developing audiences, and curating and producing events and exhibitions alongside her own artistic practice. Daisy’s notable solo exhibitions include: Observed Imagined Remembered, Cass Art Kingston (2022), and Rewildings, Dorking Museum (2022). She has exhibited in group shows including Abstract Worlds, Croydon Art Space (2023), Winter Group Show, Folkestone Art Gallery (2023), and the Young Masters Invitational Exhibition, The Exhibitionist Hotel (2023/24). Daisy made her debut at the British Art Fair at the Saatchi Gallery with Cynthia Corbett Gallery in 2023. She was also shortlisted for the SAA Artist of the Year People’s Choice Award in 2022. Daisy works from her studio in Brixton, south London, creating paintings and exhibitions that reflect on nature and place. The works become emotional documents, depicting unseen feeling as much as they record the world that we can see.

Hannah Luxton

Hannah Luxton’s paintings are inspired by the late 18th Century Romantic notion that a divine power resides within raw nature. Symbolist and animistic currents run through the works, hinting towards a higher spiritual dimension. Animism intimates the attribution of a living soul to inanimate objects and natural phenomena, and belief in a supernatural power that organizes and animates the material universe. Luxton finds her subjects in her observations of the remote natural world - the sun, the moon, stars, mountain tops, waterfalls, craters and ice caverns - condensing and abstracting each referent into an archetypal version of itself. Luxton’s studio process is one of contemporary manipulation of strictly traditional, age-old painting methods and materials, in which she has mastered oil paint to appear in a variety of guises. Luxton predominantly employs single pigment oils to demonstrate a colour’s character and clarity, and often grinds her own semi precious and rare colours such as malachite and lapis lazuli.

Hannah Luxton studied her Masters at the Slade School of Fine Art and her BA at Kingston University. In 2022, she was elected into the prestigious art collective, The London Group (est. 1913). Her UK solo and group exhibitions include: The Royal Academy (Summer Exhibition 2022 and 2021), The Herman Miller Showroom (solo, 2022), Brompton Cemetery Chapel (solo, 2021), JGM Gallery (2021), Lumen (2019), ArthouSE1 (2019), Drawing Room Gallery (2018). Awards and grants include Camden Council (2022, 2019), Arts Council England (2020, 2018), The British Painting Prize (2019), Dentons Art Prize (2019), The Creekside Open (2017), Betty Malcolm Scholarship, UCL (2012), and The Worshipful Company of Painter-Stainers/Lynn Foundation (2011). Her paintings are held in private collections in the UK, Iceland, the USA and Australia.

Hannah Luxton was a finalist for the Young Masters Art Prize in 2023.

Zoe Moss

After receiving a BA Hons in Fine art, Zoe has exhibited in shows such as the Royal Academy Summer exhibition, two years running, Cork street Gallery, Curwen and New academy Gallery and the National open art competition. She has been shortlisted for the BP portrait prize and John Moores Painting prize. Featured in publications such as ‘Who’s Who in Art’, Moss is currently producing various private and commercial commissions. She has had three solo shows and curated two group shows. Moss is predominantly a photo-realist oil painter and pop artist. Whether it’s painting her piece into the Summer Exhibition or Warhol’s Soup Can into a bell jar, she likes the idea of creating works that have such a photographic element to them that they invite the viewer take a closer look.

Zoe Moss was the winner of the Young Masters Rudolph Blume Foundation Acquisition Award 2023.

Eve De Haan

Eve De Haan is a young London-based artist of English and Mauritian heritage, with an incredible appetite for creativity. Her degree in Theology has informed and influenced her work, developing a strong body of installations which examine concepts of change and the imprint technology is having on youth culture.

She has exhibited in Europe and the U.S in iconic galleries such as the Saatchi gallery and the Museum of Neon in LA. She was recently invited to lead on an Instagram Live for Tate London. She has had billboards in London, created artwork for Nike & been featured in major publications. Her creations are provocative and challenging. Through her love of the written word Eve finds neon the perfect medium to explore the gradients and shades of meaning within a statement.

In April 2021 Eve De Haan shone a light on London streets and women’s safety issues with an illuminated billboard, promoting Reclaim These Streets ‘Text Me When You Get Home’ campaign aiming to make the UK a safer, fairer place for women.

Eve De Haan was awarded Honourable Mention for the Young Masters Focus On The Female Art Award Created During Lockdown Award 2021.

Daisy McMullan

Daisy trained as a fine artist at Wimbledon School of Art and Camberwell College of Arts. She later studied curating at Chelsea College of Art and Design, and was awarded a Research Fellowship at Chelsea Space in 2012 for two years.

She has since worked as a curator in educational and community contexts, supporting other artists, developing audiences alongside her own artistic practice. Her work includes curating exhibitions, facilitating curatorial groups, running and organising workshops and producing programmes.

Specialising in visual arts practice, her wide-ranging knowledge of contemporary art practice and applied arts informs her work as an artist. The curatorial and painting are intertwined, with each continuously informing the other.

She has exhibited at the Red Gate Gallery, Cass Art Space Kingston, Dorking Museum, and the Works on Paper fair at the Science Museum, and she has curated numerous projects at galleries and non-traditional spaces including high streets, theatres, online, and in community spaces.

Daisy works in Leatherhead, creating paintings and exhibitions that reflect on nature and place. The works often become emotional documents, depicting unseen feeling as much as they record the world that we can see.

Daisy McMullan has recently exhibited with Cynthia Corbett Gallery at British Art Fair 2023.

MIRANDA BOULTON

Miranda Boulton is a contemporary British painter who lives and works in Cambridge, UK. She studied Art History at Sheffield Hallam University and at Turps Banana Art School in London. In 2021 she won the Jacksons Painting Prize. Notable exhibitions include: Notable exhibitions include: Double Time (two-person exhibition) at Arthouse1, 2019, Royal Academy Summer Exhibition 2016 & 2019, Creekside Open 2019, ING Discerning Eye 2021, Young Masters Autumn Exhibition 2022 and Staged by Nature at Glyndebourne 2023.

Miranda states: "My paintings are about the passing of time, they are Memento Mori, reminding us of our mortality and the transience of life. I paint flowers, alive, beautiful, decaying, dying, haunting, life affirming, poignant, reassuring. Always at the height of their beauty they fade away. They cover the monumental and the everyday. My grandfather was an artist, he died before I was born, my grandmother kept his studio the same as the day he died. As a child I use to sneak into his mysterious studio and imagine talking with him about his work. These conversations made me want to paint, to recapture something of him and make it present again. For me painting is an ongoing conversation between the past and the present. I am fascinated by Flower Paintings from Art History, having spent a great deal of time looking at paintings by Morandi, Winifred Nicholson, Manet, Rachel Ruysch and Mary Moser to name a few. I absorb their work and follow their brushstrokes as if listening in on a conversation. Memories of their paintings are used as the starting point for my process. I am searching for a space where I have touched on the feel and presence of a painting from the past. There is an essence of the original, an acknowledgement of a time, place and history all in the mix.

Colours slide and slip around the surface, large sweeping gestures made by hand or brush sit next to layers of impasto paint and carefully painted details. Areas of soft powdery spray paint collide with hard built-up oil paint. The canvas is turned to destabilise and shift the composition, giving fresh perspective to the process.

My practise is an ongoing conversation with the past, I explore new forms from old imagery and narratives, linked through expressive layers of colour, gesture and form."

Boulton describes her paintings are Nature Morte of flora. Her work is a response to historical references within this genre. Art historical images are translated through memory into a contemporary pictorial language, linked through expressive colour, gesture and form. Her interest in the passing of time is central to Boulton’s work. Flowers remind us of the fleeting, transient nature of life. She thinks of painting as a time-based medium, layers of paint are like timelines on a tree, each holding memories of brush marks and integral to the finished piece. Each painting is an ongoing conversation between past and present, an exploration of new forms from old imagery and narratives.

Miranda Boulton is represented internationally by Cynthia Corbett Gallery and is a Young Masters Alumni Artist.