Dan Baldwin

British artist Dan Baldwin bridges the gap between abstract and figurative painting to create a landscape that simultaneously reflects reality, the power of the imagination and the private, inner workings of his mind. His style has a unique aesthetic which is difficult to categorize. Working by instinct, it can change dramatically depending on the subject matter he is exploring and the emotions he is channeling.

The organic spontaneity of Baldwin’s canvases is tempered by his careful composition of two and three dimensional elements. Twenty years of experience is evident in his masterful ability to shape, contain and simplify complexity. His integration of mixed media found objects (knives, crucifixes, bullets, bank notes and razor blades) over screen prints, acrylic and spray paint adds depth, clarity and balance. Despite the difference in medium, his creative process when working with ceramics is similar in its unabashed candor

Charlotte Cornish

Charlotte studied print-making at both St. Martin's School of Art and the Slade. A statement from the artist:

"I have always found inspiration from places I have travelled to: most recently Venice, Ireland and the Suffolk coast. I often use photographs as an initial starting point for my compositions, but my paintings are not representations of places, but a mixture of elements from the seen world, and my own emotional responses and experience.

I am fascinated by the qualities of paint, the unending possibilities of colour and colour relationships, and the potential this has to create connections and reactions. Acrylic paint is my preferred medium as this dries relatively quickly, allowing me to build up many layers of thinly poured paint, contrasting with directly applied, thicker marks. I wait until the paintings are dry before applying subsequent new marks. This allows me to remove or modify painted areas, without affecting the preceding layers. The paintings take about eight weeks to complete."


Brad Faine

Brad Faine attended Farnham College of Art and St. Martin's School of Art as well as lecturing at numerous colleges before setting up his own screenprinting studio in 1973. Brad Faine's early studies centred on an interest in conceptual art and later developed towards a concentration on colour field painting. While a student at Leciester he met Sydney Harry whose research into colour phenomena attracted his attention and since then his work has been concerned with the study of the qualities of colour and form without reference to natural objects. His interest in printmaking was motivated by a desire to make multiple flat colour images for which screen process printing was ideally sutied. He found the hard edge image too restricting and for this reason he developed a form of continuous tone printing within the limitations of the medium. Brad Faine has also designed and produced a number of games which have been exhibited. He has undertaken painting commissions and his work has been exhibited in many group shows and is in many private collections.


Bruce McLean

Bruce McLean is one of the major figures of contemporary British Art. Born in 1944 he studied at Glasgow school of art and at St. Martin's in London, where he was taught by Anthony Caro. He found the attitude there ponderous: "Twelve adult men with pipes would walk for hours around sculpture and mumble." In reaction he turned to making sculpture out of rubbish, to performance art and to producing photographic works in which he often posed. All his work brilliantly sent up the pompousness of the art world and mocked established art forms. He was given an exhibition at the Tate Gallery at the age of 27. From the late 1970s he has made paintings and prints in which humour remains central.

After St. Martin's McLean went on to teach at The Slade School of Fine Art. His early reputation arose from his activities as a sculptor involved in performance art. He has obtained international recognition for his paintings and prints, work with film theatre and books. Bruce's bold and confident approach to print making proved influential to his contemporaries and also to a generation of younger artists. Bruce's work is in private and public collections world-wide and he has had numerous one man shows in both Europe and North America. These include The Tate Gallery, the Modern Art Gallery in Vienna and The Museum of Modern Art Oxford.


Brendan Neiland

Brendan Neiland was keeper of The Royal Academy Schools for two years and enjoys continued success as a painter and printmaker. His subject is the cityscape, an environment Brendan feels is rich in potentiality and yet often neglected. Brendan sites the work of Fernand Leger who was the first artist to use the awkward contemporary environment as a key to inspiration. Brendan's paintings are both figurative relating to the city and abstract in their structure reflection of light and modulated colour. Technique is fundamental to Brendan's work which ensures a fusion of method and imagery. His research leads to a series of drawings that formulate and define the imagery. These drawings then become the templates or masks through which the paintings are sprayed. In this way Brendan can build layers of glazing an uninterrupted surface save for changes in hue tone and structure. During his extensive travels around Europe Brendan has studied closely the interiors of Vermeer in Amsterdam the extravagance of Gaudi in Barcelona as well as the black intensity of Goya in Madrid. These influences together with a preoccupation for the industrial aspects of Britain help Brendan in encouraging people to reappraise their environments and feel a greater sense of involvement in them.


Barry Reigate

Barry Reigate studied at Camberwell College of Arts (1990-93) and then Goldsmiths (1995-97). Has had solo shows in London at Nang Gallery (2009), Paradise Row (2008) and Trolley Gallery (2006). Group shows include ‘Rude Britannia: British Comic Art’ Tate Gallery 2010, ‘Newspeak: British Art Now’ Saatchi Gallery 2010.

Reigate's work has been described as ‘pop porn’: he uses debased sexual cartoon ephemera to provide a critical allegory for art historical attitudes as well as current cultural zeitgeist. Reigate merges the gloss of graphic design with integrity of expressionism, creating packed and jumbled compositions often with a lecherous/fetishist theme. His use of controversial subjects highlight the hypocrisy that surrounds issues such as sexuality, art, race and class. Darkly humorous parodies of today’s attitudes.