The Artists

Below are the details and statements of the artists taking part in this exhibition project. They are grouped by their themed shows. If you wish to make a purchase, please contact the artist directly through their listed details.

STRONG FRAGILE  12th January – 8th February 2017


Lucy Andrews   Instagram: @lucypottersabout

I work predominately with porcelain, although enjoy the surface and texture of flecked stoneware clays. Each piece is carefully created using a potter’s wheel, and turned to produce a very delicate cone shape. Once fired, the clay becomes a strong, ceramic object; no two pieces are ever the same.

Museum collections, multiples and miniature forms hold great appeal for me as a maker, as does challenging the static nature of objects. “Do not touch” is a phrase often found in museums and galleries; by creating pieces that move and that must be arranged and repositioned in any number of compositions, I aim to connect with the viewer and include them in the artwork. These ceramic ‘families’ sit quietly together as a group, but the dynamic is changeable, reflecting the relationships we have with the people and places around us.



Di East

In 1997, the summer that Princess Diana died, I was travelling around the south coast and at a certain beach I picked up this large pebble. It was a lovely shape – perfectly elliptical on all three axes. The whole beach was covered in similar pebbles looking like a landscape of sugared almonds. I often pick up pebbles on trips as souvenirs. As I drove away I noticed a sign saying that removing stones from this particular beach would incur a fine of £400. I put my foot down and kept going. Many a mould has been taken from it over the years and its pleasing form has been copied lots of times in my work in glass, sculpture, ceramics, paintings, jewellery and textiles. I would happily now pay the fine to keep it! I decided to put together a few related pieces for this show.



Pippa Lovell e:

Before anything, I am a chef… but art feeds me. Art has become my catalyst which allows me to express my love (and hate) for the food industry and project these feelings onto canvas. Kitchen nightmares, bad suppliers, the animal or a beautiful dish, my aim is to capture these moments and re-write them in a language that is colour, pattern and statement. Open a door that allows the onlooker to question and evoke emotion, just like myself.

Six months ago I had an easel bought for me and hopefully this is the start of a food/art romance that will fuse both creative industries and who knows, maybe “chefs” will be recognised as artists in their own right. Your amuse bouche is served, await the rest of your courses and come back for dessert.



Kirsty MacMillan    Instagram: @wildandviolet

The skull has been used in art throughout human history and has always fascinated me. In modern pop culture it may be seen as a symbol for death or evil but for centuries the human skull has represented so much more. It is a reminder of our mortality and the fragility of life as seen in Memento Mori and Vanitas style paintings which warned the viewer that regardless of wealth, status and achievements in death we are all the same.

In some cultures and beliefs, the skull is more a symbol of transformation or new beginning, protection, power and strength or wealth, a celebration of life. I also have a fascination for porcelain – I love its translucency, colour and strength which lends itself perfectly to my nature inspired skulls. With my choice of material and subject I hope to convey the balance of nature, its fragility and strength.



Moira Robinson   Etsy: HalfFullGlassUK

For me, glass is the ultimate expressive material. It is moody, like the sea: bright and glittering; soft and misty; dark and threatening. Forming it presents technical challenges that appeal to the scientist in me. Then there’s the area beyond that, where the Kiln Fairies take over; you don’t know exactly what you’ll get until the bath of fire is over, hours or days later. The thrill of hope and fear as you open the kiln door…

I make sculpture and jewellery in glass with other materials. My preferred technique is Pate de Verre, in which crushed glass is packed into a single-use plaster mould and fused. I also use a glass-torch to add hot-formed elements. My artwork is informed by many interests, often relating to personality and identity; how people express themselves to the world.



Bali Sangha-Jenkins

Graduating with a BA Hons in Art & Design, Bali currently works as an in-house artist at her studio, selling to private and corporate clients worldwide. Celebrating her love and passion for art through expression and exploitation, Bali breaks boundaries through ‘rebelling’. Her work is influenced by the study and observation of human emotions – the movements, energy and interaction we have with objects around us, both mentally and physically. Specializing in innovative oil work, acrylic layering and gold leaf she captures the use of the textures and layering process, and merged together they create vibrant and exciting pieces of original artwork.

Bali won the “Crystal award for the most inspiring artist of 2016” and “Top selling artist” and was interviewed by the BBC in 2012. Exhibitions include ‘Showcases’ at the New Walk Museum, Casa Batillo Gaudi museum, Barcelona, New York City Art Platform, Blenheim Palace and the ‘Celebrity Stars on Canvas’ in Mayfair London.



George Sfougaras

I studied Fine Art at Trent University in Nottingham where I specialised in painting and printing. I have sustained my painting practice throughout my teaching career and I have a studio at Leicester Print Workshop; this has helped to re-establish my printing practice. I also work in wood and occasionally make automata.

My subjects are people and places that I have known or which appeal to me on a spiritual or aesthetic level. My interests include cultural nuances, special needs and historical events and minutiae, as well politics, gender, religion and relationships. I try to paint what it feels like to be part of an ephemeral, complex, beautiful and sometimes challenging and painful continuum.



Barbara Taylor-Harris   Pinterest: barbarartist

Barbara is an innovative sculptor and mixed media painter who enjoys pushing artistic boundaries. She uses a variety of new materials, styles and subjects. She is a 3D printing pen specialist and she uses this to create heavily textured paintings and cutting edge sculpting techniques. Her work has a strong emphasis on light, movement, mood and atmosphere.

Barbara’s techniques combine to create exciting and innovative work which looks detailed and delicate but which is robust enough for you to touch. Her work reflects two current themes: 2D becomes 3D and 3D pen meets other materials. Barbara undertakes commissions and as a Professional Associate for the Society of All Artists, runs workshops for art groups and individual tuition days.



Perin Towlson

As a British trained designer/maker I studied at De Montfort University, Leicester, specialising in ceramics. Working from my Leicestershire studio I create distinctive white porcelain contemporary vessels and jewellery some embellished with coloured volcanic glazes. My work reflects the strength and fragility of the human spirit. We all have different layers within our personality, made up of our life experiences. Influenced by beachscapes, the beautiful lines and shapes of ripples, shells and barnacles from the sea shore offer me a unique story to interpret as an artist.

Each slip cast piece is different and kiln fired twice up to 1260 degrees C, being polished several times between both firings helps to achieve the smoothness of marble. The highly polished tactile surface imparts a soothing tranquil feeling. The roundness of the shapes suggests a softness and yet the finished product is as strong and fragile as glass, just like human nature.


swarm colour 2, 23x30, monoprint, 2014

Deborah Ward

I am using ‘Strong/Fragile’ as a self-portrait, not in a literal sense, but through my experience of life i.e. that which informs me – observation, watching, handling, experiencing. I continue to be very much interested in object and collection; it’s cumulative effects with reference to animism, and object as agent; provenance is important. My work is often durational, recording wear, growth, decay and renewal. For instance, changes to environment/object, self/others.

I have a relationship with the material I am using and a need to control it, although materials have certain properties, which define them and cannot be denied/overruled. In this the material itself has an agency, the question of how and where it has existed is interesting. I realise that I like to draw, use pencil and charcoal because of the control it affords me but find the properties of paint fascinating. My experience is embedded in the work I make.



Alan Willey

I enjoy the freedom of being able to produce work for my own satisfaction without the commercial constraints of a professional artist. As a consequence I feel no need to stick to any particular style, subject matter, or to take into account any notion of what might sell!

What interests me most, is what it means to be human. In this series of exhibitions, I will be showing work that celebrates the simple and commonplace joy of dance. A human pleasure that crosses all generations and defies every ethnic and political boundary. I am also showing work that explores the darker side of human nature including terrorism, fundamentalism and domestic violence (16c. style!). If only we could be content with nothing more (or less) than dancing in the moonlight!



Rowena Williams   e:

As the cartoonist Scott Adams said, ‘Creativity is allowing yourself to make mistakes. Art is knowing which ones to keep’. Well, I make plenty of mistakes and love the process of experimenting with a range of mediums including paint, pastel, print and paper cutting.

I draw inspiration from the familiar, tending to favour figurative work. I’m in the process of trying to develop a more loose and painterly style. What I’ve realised, is more difficult, is to make a picture ‘work’, to be pleasing to the eye and be enjoyed. This is where I make most mistakes but that’s fine!


Light/Dark 16th February – 15th March 2017


Mary Byrne

I am a writer as well as an artist. My art work is about imagined stories. I paint and draw and also compose digital collages. I am fascinated by the past. Sometimes work is inspire by discarded old photos: who are these people, what lives did they have? Even their appearance can be uncertain as the image is often damaged. Sometimes I am inspired by my own photographs and other images to invent a narrative – a mysterious, slightly surreal story where nothing is clear.

Work for The Eye exhibition is on the Light/Dark theme. Darkness to me implies secrets and mystery, intrinsic aspects of my subject matter. I convey this visually not only through literal darkness but also through shadow, blurring, or grey/sepia areas amid colour.



Alison Carpenter-Hughes

Alison is a mixed-media artist and illustrator, working with different mediums and techniques, including painting, textiles and photography. Her work explores the elements of light and dark through symbolism in the narrative flow of the image. We cannot have one without the other and this duality is needed to create a whole. Fables, fairy and folk tales all contain these elements, whether portrayed through plot or character - death/rebirth, male/female, peace/turmoil, and hope/despair; who is the beast and who is the beauty? These journeys through light and dark are ultimately to a path of growth and to find balance.

Alison finds inspiration in stories; colour; a line of a song or the feel of a piece of music; creatures shaped by shadow that appear suddenly in everyday objects; daydreams; moments of thought, place and time that reveal an intimacy and personal connection to her imagination.



Pam Everard

Pam has been a camp follower to her husband’s career moves for the past 30 years, living in East Africa and South East Asia before going to Dubai for a couple of years. She has been playing around with different mediums for most of her life but until she went to live in Dubai she always felt her work was suppressed and did nothing to represent her personality. With the constantly changing face of Dubai, and the unabashed way it takes on board everything new, she felt free to abandon her previous style and just let the paint build up on the canvas. The challenge now she is back in the UK is to keep that sense of freedom.



Richard Gatward

I have been a keen photographer for nearly 50 years and have had a long term interest in industrial landscapes and transport. More recently my photographic interests have developed to focus more on travel, street photography and performance. I have had a number of photographs published in recent years, including a magazine feature on Hong Kong, and a book cover illustrating a work about environmental activism in post Soviet Russia.

Key influences are rather predictable given my interests, with Martin Parr being the Magnum photographer I most admire, not only for his artistic expression and photographic skill, but also for his sense of humour. Recently I’ve been hired as a wedding photographer on a number of occasions, an assignment which has become increasingly interesting because clients now want their wedding portfolio to include imaginative, candid shots.



Sue Graham

I paint and draw en plein air throughout the year from dawn to dusk around the Norfolk coast, South Devon Coast and North Cornwall, from sand to salt marshes and tidal creeks to huge stormy seas, in a constant state of flux. The paintings show an emphasis on the sea, sand and strand line which depicts a strong contrast of light and dark using a wide variety of colour, tonal qualities, textures to capture and record the conditions, space and atmosphere in front of me.

Unique fleeting casts of light are captured as light falls across the sea shore; the changing tide and weather conditions contribute to ever changing environment. From the early morning light, I continue until the last of the evening light as it fades away. I often find myself so completely immersed in capturing what is seen that I find myself sitting in the dark still painting.



Lloyd Hughes   e:

In this duo of new paintings, themes of the colour palette, like those found in digital design software and the diagrammatic presentation of data such as solar spectrum charts,  have been referenced within the rigid framework I traditionally employ. These additions and subsequent developments to my practice have been an exercise, to reinforce my understanding of colour theory and the subtle application of paint. Amalgamated colour works alongside progressive tone in an attempt to deliver honest and approachable artworks and to be something that will act as a functional reference for me the artist moving forward.

The basis of the work is a reaction to the digitalised world and how increasingly sleek and efficient programs seem to supersede traditional craft. The current aim of my practice is not only to reclaim the colour palette but to reinvent it and the way we present information.



Fiona Humphrey

Fiona Humphrey is a fine art printmaker-artist, creating original collagraph and linocut limited editions and monoprints. Her work combines the bold mark-making of carving with subtle free-inking to portray landscapes and figures, connections and isolation through abstract and semi-abstract form, using graphic blocks and painterly sweeps of colour.

Caught in the tension between light and dark, Fiona finds a world of whispered echoes, hidden landscapes and feelings, somewhat overlooked and half-forgotten. As Fiona explores the quiet and internalised relationships we share with the world around us, so too her work is informed by our eroded and repaired surroundings, finding beauty in the broken. Fiona is an elected member of the Leicester Society of Artists and a full member of the Leicester Print Workshop.



David Irish Facebook: David Irish

Art has no function beyond decoration or referencing itself. The life has been sucked out of it and all that is left are the bones, which we can be endlessly rearranged into new patterns. We will not cry in front of a painting, we will not get emotional, we will not be inspired apart from doing another painting. The job of an artist is to paint the spirit, if the spirit is not there, we are not there. Not that I achieve this.



Deborah Miles-Williams   Facebook: DebsiArt

Darkness has been a fundamental aspect of human life from the earliest of times. People have sought out dark places for burials, votive deposition, religious or creative retreat. The role of darkness is hugely apparent in the archaeological record, with many artefacts deposited in places that exclude light, caves, megalithic monuments, barrows, cists, pits, tree hollows, or simply buried beneath the earth.

By using artificial light to examine the hidden archaeology, exposing corners and niches, we drive out shadow and miss a part of the story and the experience of a place. Light removes the fundamental feature of the ritual that lay behind the deposition: darkness. These paintings seek to explore how humans have interacted with both darkness and light, especially during Prehistory.



Johnny Paramor

I am passionate about art, design and craft and therefore I continue to work in several mediums. These include painting in oil and acrylic and ceramics which are made on the potter’s wheel.

Painting – I attempt to portray emotions, feelings and energy on to the canvas, paper or board. I am currently using thin layers of transparent and opaque paint, building the paintings up gradually. For me depth and colour are very important. Ceramics – I have a need to express myself and therefore turn to the potters wheel, where the clay is forced and worked into shape. The pots vary in colour and texture and if glaze is used then I limit it to a band of colour which is hand painted within the grooves made on the wall of the pot, in the throwing stage.



Christine Stevens

I am a self-taught artist who attended the Richard Attenborough Centre under various tutors, for eight years. There followed numerous lectures and workshops by various artists in Leicestershire and on painting holidays abroad. I am familiar with working with a wide range of media.

My interest in painting is to produce semi-abstracts in mixed media. These are sparked off by seeing something in nature that excites me. I draw the area on to my canvas and then through reduction of detail, the picture reveals the abstract image. I hope the emotive response from the viewer is of excitement and happiness. My contributions to the light/dark theme exhibited here in February and March will be constructed similarly. My interpretation of the light areas will show bright areas of colour and the areas in shadowless colour gradually reduce to the darkest dark.



Anna Louise Wright

I feel we live in a world that focuses on the mass media, and that true beauty has got lost along the way, but although it is pushed into the darkness, I feel it still sheds its light and the beauty of the natural still shines its way through.

My art is based on nature and what captivates my eye at the time. It is about capturing the shape, pattern, shade, tone and also the colour. My aims have been to create a representation of its true form, but not to overwork them with too much detail, as I prefer the ‘less is more approach’. What I feel works with my art is the processes in which it is made from the research to the planning and positioning, to the materials that I have used.


URBAN/RURAL 23rd March – 19th April 2017


Vivien Blackburn

Living in Cornwall when young, it’s a very special place to me. Other places I lived growing up include Findhorn, on the Moray Firth in the north of Scotland, Norfolk, Malta and Gibraltar, all with a very different light and ambience, probably creating my interest in light on landscapes.

I work in the landscape, with its ever-changing light, mood and colours with time, weather and seasons; wild places interest me. I often complete finished paintings plein air, but also fill sketchbooks to work from in the studio, being there helps me to see the colours and light in a way that my camera can’t. Then I’m interested in mark making to catch textures – tangled undergrowth, rocks, rough bark or the smooth sheen and translucency of still water versus the waves crashing violently on the rocks in Cornwall. This means that I frequently work in mixed media.



Ruth Chalk

Ruth Chalk works in knitting, machine embroidery and mixed-media collage. Her practice straddles art and craft, as the process of making the pieces and responding to the materials is every bit as important as the ideas. A feature of her work is the use of recycled materials such as plastic packaging, discarded clothing and newspaper.

Her recent work has focussed on her experience of the cityscape, with inspiration often coming from things she sees along regular walking routes, such as the one from home to work. This has led to a series of large knitted portraits of buildings and smaller sewn and collaged works addressing the place of nature and trees within an urban environment, which together form a personal space-time map of her world.



Sue Clegg

I am an artist, illustrator, creator, teacher and general maker of fine art, craft & design. Easily distracted by shiny things, I work in a range of media and materials.

I am inspired by many subjects but regularly return to the landscape during my travels around Britain. My work looks at our connections to significant places – our environment, nature, people, stories, hidden histories; the interaction, evolution and resilience of these. Certain places have particular significance to me and I aim to explore not only their physical beauty but the energy, stories and human connection contained within them. I am drawn to the relationship we have to the earth and nature. I am currently working predominately in print and photography, incorporating a range of media to create ‘layers’ within an image.



Paul Dexter   Facebook: Paul Caper Dexter

Born in Leicester in 1972, I recall drawing and designing from a young age which quickly became important to me. Whilst at school teachers picked up on my ability and interest for creating art where I was encouraged to pursue this talent. Shortly after this, I was exposed to the New York Graffiti scene which inspired me to start designing pieces along similar lines. Soon I made my mark on the Leicester Graffiti scene using the tag name ‘Caper’ to which I gave a lot of time and effort to promote.

Nowadays I spend much of my time painting and have found that graphic work ‘talks to me’. Once started, I work with ease producing pieces with original thought. Finishing a project gives me a sense of pride having achieved something done with pleasure and knowing it can be shared with others to be enjoyed. For me, simply, enough is never enough.



Judith Eason

I attended the Medway College of Art, Rochester, Kent, from 1958-61 and I have a B.A. in Printmaking from Loughborough College of Art and Design 1994. I have designed and made props for window displays and worked as a freelance graphic artist. One commission was for 44 botanical water colours for the Potato Marketing Board. I am a member of Artspace Loughborough and Association of Leicestershire Artists.

The rural landscape is my main subject. I link the atmospheric conditions of nature to our emotional human responses. Light, colour and textures are very important elements. My other fascination is the interior décor of old historic houses, the many layers of wallpaper giving clues to their heritage and its people. Artists that inspire me are J.M.W Turner, Henry Moore, Barbara Hepworth, Eric Gill’s lettering, Peter Doig, and Howard Hodgkin. In printmaking my inspirations are Rembrandt, William Hayter, Helen Frankenthaler and Robert Motherwell.



Emma Fitzpatrick

I am an Irish artist and designer and have lived in Leicester for the past ten years. I am particularly interested in painting landscapes but also faces. I love being out in the open air attempting to capture (into a single image) the mood, energy and rhythm of a landscape which is constantly changing before my eyes.

Painting outdoors gives me a chance to be immersed in observing the sights and sounds that nature has to offer me on a given day. In the future, I would like to develop my work by moving away from the gentle landscapes of Leicestershire towards the more dramatic mountains of Wales and elsewhere. I find the scale and the wildness to be exhilarating, sometimes melancholic, sometimes radiant and also very humbling.



Jacqui Gallon Facebook: Jacqui Gallon Art

I am fascinated with derelict industrial buildings, ruins and old rural churches, and my paintings often use the worn and scribbled-on character of their brick, concrete or stonework surfaces as inspiration. By building up layers of paint and “burying” objects or organic matter which are later revealed, the paintings become “timescapes”, exploring the passage of time and memory. A hoarder by nature, I also love collecting objects – rusting machine parts, old fabrics, nails and other items left behind after an activity ceases. I assemble these together, often housing them in rustic looking cabinets so that they give the impression of being specimens.

Pieces of old fabric often find their way into my printmaking projects as well. I try to utilise the materials which I find on various sites so that they become embedded in the work which I make, lending each piece its own individuality and giving a sense of the character and memories of that place.



Glenn Heath

As a fine art painter, I work in a variety of media including watercolour, oils, acrylics, pastels and mixed media. Most of my work is established in series and focuses on localised areas of Leicester, such as ‘The Market Place’ ‘Flower Shop’ ‘Bradgate Park’ or places which have held a familiarity since childhood. My paintings connect with this familiarity as a recorded experience or through the realms of fantasy. It may be a tree, a flower, a place or person…each has a story to tell.

My recent work revolves around garden art letting the memory and imagination create a magical and even rural oasis within an urban environment. The progression of my work turns toward the vast rewilding of waste lands, rock faces and demolition areas. Minute unnoticed flowers and green foliage stretch towards the light with a vigour far extending their initial size to re-wild and transform their surroundings.



Ros Kite

Making art work, for me, is a way to react to events, places, objects and materials. I began to make art in earnest in my forties. Until then I satisfied my creative urges by making clothes, sewing and knitting being other obsessions of mine. This design aspect often shows in my work. The opportunity to study art as a mature student opened up a whole new world of experiences including teaching adults and running workshops.

My inspiration comes from many sources. The work could start with a subject or it may be triggered by a painting/drawing medium. Either deciding on a subject and choosing a medium that best suits it or beginning with the medium and letting that dictate the way the piece progresses. Often there is a mix of media on a piece.



Christine Mannion

My craft based background informs my approach to painting in acrylics and mixed media. Original paintings emerge from experiments loosely based on masses of flowers and wild areas, usually introducing texture and movement with bright colours for a cheerful image. In the ‘Urban and Rural’ exhibition I aim to explore the Rural and Urban environment in texture.

With a certain amount of unpredictability and freedom in my working practice, the exact identity of a flower or achieving a copy of what I see is no longer my intention, resulting sometimes in a series of abstract marks.



Toni Northcott    e:

After 38 years of teaching Dance at Secondary level, I retired in 2010 with the intention of rediscovering and developing my love of drawing and painting. I joined an Adult Education Art class in 2012, and after 4 years have recently had my first solo show.

I am drawn to natural form for inspiration, particularly water, rock, plants and wood. I am intrigued by objects which have been weathered or affected by time, such as seedheads, driftwood, pebbles and seaweed. The movement of water, especially where it meets land, fascinates me, and I often stand and observe how waves slowly encroach on, or retreat from, sand and rock, before starting a new piece. Colour and texture are especially important in my work, and I enjoy working in mixed media, acrylics and oils, using a variety of found objects as well as conventional tools to apply colour.



Nick Shove

Illustrator and doodlemeister Nick Shove is a Leicester based artist specialising in adding his unique street art based characters to existing canvasses and photographs. Having grown up surrounded by the underground art scene in Bristol, Nick moved to Leicester to study Interior Architecture at De Montfort University, igniting his passion for illustration and his love of doodling. Initially drawing as a labour of love, Nick has gone on to work for big named brands in the corporate world such as Boxfresh and Next and his work can be viewed in many different bars and clubs in and around Leicester.

Over the years his style has developed from simple doodles into full colour wall murals, and canvasses. Recently he has challenged himself into applying his bright and colourful artwork on different surfaces such as found surfaces, skateboards and classical artwork. Nick has a simple goal; he wants to make you smile.

INSIDE/OUTSIDE 27th April – 24th May 2017


Dee Barnes

The mixed media pieces are created for the range called Colourfield and originate from abstract paintings using acrylics, oils, pastels, gold and silver leaf and other mixed media. The paintings are mounted, cut into shapes and framed in copper foil. The pieces are then coated in a layer of resin. Once dried, the shapes are backed, embossed with pewter and assembled into a range of brooches, pendants, necklaces and earrings.

They are very individual and come in groups according to the painting I have used at the time. Each piece is very lightweight and has a glass or enamel like quality as the resin magnifies the colours and textures beneath. Every single piece is a one off, not even the pairs are the same and I cannot recreate the paintings once they have been used so you are buying an original piece of artwork.



Jo Keogh

Jo Keogh is a ceramic artist based in Leicester who recently completed an MA in Studio Ceramics at Loughborough University and is an associate member of the Craft Potters Association. She uses the language of the everyday vessel as the basis for exploration. The vessel is an object with a deep-rooted memory of storing, holding, and mixing of materials useful to man. Yet the vessel does more than simply serve as a means to containment, having ambitions that go beyond utility. It is a philosophical object; a bearer of opposites.

It may also function to contain the intangible: light, mass, volume, space. It is concerned with emptiness and being filled, inside and outside. The work remains faithful to a long history of ceramic traditions but not convention. It has different intentions, forcing us to reconsider our relationship with the vessel and its functions.



Claire Elizabeth Jackson

Claire trained at the Ruskin School of Drawing where she specialised in portrait painting. She has held several solo exhibitions in Leicester, notably twice at the Leicester New Walk Museum, where she painted two series of portraits of members of different faiths in Leicester. She has exhibited at the National Portrait Gallery Portrait Award and London venues including the Mall Galleries. Claire is happy to take commissions for portraits. Claire also paints still life, memory pictures and paintings from the imagination.

Claire is a trained art teacher and now teaches community groups, working with people who’ve always wanted to paint or draw but believe that they ‘can’t even draw a straight line’. Students who come to these classes (which can be held over a day or two) are guaranteed to take home from the class an oil painting or a series of drawings of which they are proud.



Giulia Mio

Giulia Mio is an Italian, award winning couture milliner devoted to making hats and headpieces from the finest materials, with an immaculate finish. She studied set and costume design in Venice and in Milan, and she learned millinery for haute couture and theatre in Rome, Milan and Zurich. Her style is the result of a diverse mix of Art, Theatre and observation of Nature. She trained as traditional milliner, but she is interested in new techniques and innovative materials, creating a unique mix between past and future.

Her artistic education has had a big influence on her creative process, every hat is part of a story or is inspired by a specific time in history. Her bespoke creations are sculptural and delicate, designed to flatter the face and proportioned to the customer. All the pieces are entirely handmade by the designer and are made to order.



Brett Murray   Etsy: ANOKZONE

Brett Murray (aka ANOKZONE) is a talented, self-taught digital and tattoo artist with a background in Fine Art from De Montfort University and a deep love of graffiti and street art. Since recently discovering the digital medium, Brett’s work has developed from beautiful, ethereal, hand drawn wall mural pieces into something much more emotive. He takes his inspiration from a wide range of sources and has recently begun to incorporate his love of the style of the Old Masters into his work.

By using the most modern of mediums, Brett is able to create breathtaking images using different digital layers to create and manipulate texture and colour in unbelievably subtle ways. His most recent work has a dreamlike quality to it and the constant development and evolution of his work makes the viewing of each piece he produces a wonderful experience.



Ruth Nutting

From a young age, I loved collecting items I found beautiful and surrounding myself with them to build my own personal, happy place. For many the urge to build a home can be entwined in their human nature which includes decorating, ornamenting that home with objects they find beautiful. My work started from the feeling I got from finding those beautiful objects and wanting someone to feel that way from owning something I had created.

The process of my work comprises of a laser cutter, needle, thread, nature, wildlife, geometric lines and mixing materials.  My work started as pieces that adorn the body, as I also have a career in hairdressing and this felt like a natural progression. However more recently I have taken new steps to items that can adorn you and your home.  Intrigued? Me too.


Garden II, detail.

Sushila Pillai

Sushila Pillai is a textile artist specialising in the use of felt-making techniques to create art, clothing and accessories. The interplay of texture, colour and form is an important aspect of Sushila’s work. Taking inspiration from the natural world, she aims to create work which expresses this. All her pieces invite the viewer to touch and her work is designed to evoke memories of the colours and textures around us through an imaginative rather than a realistic re-creation of previous sensory experiences.

Sushila sells through her company Felt4Artsake based at Makers’ Yard, Leicester, and is happy to take commissions.



Phillipa Reddell e:

I studied 3D design specialising in Silversmithing and Jewellery for my BA hons degree and then had several studio artists jobs before working for many years as a model maker. My love of nature’s small “treasures” – the carapace of a beetle or the bones of a skull fascinate me, the mechanics of movement in bone, fur, feather and shell. How necessity and evolution have affected natures designs.

I also love old things, discarded objects that can be repurposed and precious junk. I am an eclectic craftworker with many diverse interests which come together into this current work. I am interested in the concept of “precious” – what we keep within, hidden from sight. Memories and secrets tucked away in dusty corners. What we reveal and show to the outside world by how we choose to adorn our bodies through jewellery, tattooing or scars. How we hold onto “things” – how we let them go.



Hayley Stokes   Facebook:

In trying to find the best means of expressing ideas, my work draws on a range of media including video, animation, photography, drawing, print, paint, collage, clay and text. This variety reflects my life experiences: as a mother of two, a step-mother of three, a qualified Psychologist with nearly two decades of experience and now a mature student of Fine Art in my final year at Loughborough University. All these aspects of my identity feed into my work, which explores the link between our external environments (especially culture and the media) and our internal experiences.

In 2014, I was awarded the Christopherson prize by DMU for a video and animation piece exploring the realities of motherhood. Most recently my work has examined my relationship with my step-daughter who has profound learning difficulties and has led to a focus on the value attached to achieving/exceeding in today’s society.



Jane Sunbeam

I see myself as an artist who illustrates; the need to translate words into images is the primary motivation that fuels my work and have recently gained my Ma in Children’s illustration from Cambridge School of Art. For many years I have sought inspiration from folklore and magical tales, but recently my work has become more preoccupied with seeing and revealing the magic within the everyday and the 21st Century – it is still there if we seek it out. It can be the birdsong that accompanies me on walks, the swish of leaves beneath my feet – their spectacular autumnal colours revealing themselves as visual feasts for the eyes. Or it can be in the form of friendship, a glance up into the sky at night, or the whispered tale that reveals new knowledge.

I write and illustrate my own narratives and stories, including picturebooks choosing the most appropriate medium. My work for Inside/Outside explores the theme of homes, nests and burrows – seen from the two differing perspectives.



Danielle Vaughan

Danielle Vaughan graduated with a degree in Design & Manufacture from Leicester Polytechnic and a P.G.C.E from De Montfort University in 1991 going on to teach in schools and colleges throughout the Midlands. Working from her home as a full-time professional artist since 2014 Danielle is currently exploring the creation of images using recycled materials (mainly ripped paper onto cardboard) with the focus being on texture, pattern and colour. Text inevitably forms part of her work which she uses both deliberately and at random inviting the viewer to decide which.

When selecting a portrait she looks for colour in shadows and stretches the idea of what objects can be hidden and yet upon inspection revealed. Danielle is a regular contributor to local exhibitions; she runs popular teaching workshops from galleries and her home studio.



Jenny Wilson Facebook: jennywilsonartist

I’m a self-taught artist who has painted in oils since I was twelve when my mum, grandma and I attended some oil painting gatherings, in the Swedish village I am from. Through my life I have painted on and off but it’s only the last 5 years I have painted on a regular basis, selling my work Worldwide.

I sell my work online but also exhibit and sell my paintings in local and national galleries. Selling my work is not what drives me, as painting has become a craving. However, the knowledge that my work is wanted and appreciated by many serves as an extra inspiration and an important self-assurance. Nearly all my work is inspired by the ever-changing colours through the passing of seasons in the local landscape along roads I travel every day. I never aim to copy but simply to capture feelings and light without focusing on details.


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