Marenka Gabeler
My work is about my grandmother. She is 90 years old and suffers from Alzheimer’s disease.
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Genetic Moo
Genetic Moo creates immersive interactive experiences which encourage experimentation and collaborative play. We call our exhibitions Microworld.
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Emilia González Salgado
My work delves into the understanding of identity, as body and place within various dissonant spaces.
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Vaughan Grylls
I still use the same approach to my work: I get an idea, think of the title and then make the work. So not much has changed since 1964.
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Susan Haire
Vanishing Point, a long term work-in-progress, has involved sculpture, installation, photography, video and collaboration with three composers…
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Alexandra Harley
I use a variety of different materials – mostly wood, but also stone, clay, and paper – to explore the concept of movement and animation in non-kinetic sculpture.
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Julie Held
I love colour and use it to structure composition. Drawing is as important. My subjects are taken from daily life then mediated in my imagination.
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Aude Hérail Jäger
On and off human beings become aware of a constant juggling of mysterious inner forces, some palpable and loud, others hidden, yet all potent and powerful. I am drawn to investigate what is not there in full view.
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Bill Henderson
Concerning: ‘Music for the Storyteller’. 1999 to present.
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Martin Heron
I make two and three dimensional drawings and paintings exploring spontaneous mark making, experimental use of prefabricated materials and ready-made forms.
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Alexander Hinks
My practice represents the relationship between nature, technology and even the sublime – as upon peering into another world with bold straight line structures which contrast curves and fluidity, the voids and chasms of space alluding to universes.
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John Holden
The making of drawings, painted images, is an inherent aspect of my experience of living and has been since childhood; not to make visual images of some sort would be an act of denial of an essential need.
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Chris Horner
As an artist, my main concern is challenging people to see the possibilities in beauty through pre-used building materials where others see functionality.
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Jane Humphrey
The landscape contains many hidden ‘secrets’ ; ancient field systems identified through aerial photography, droves and tracks reinforced through thousands of years of constant use, or the more transient ‘memories’ of successive lines of a ploughed field.
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Gill Ingham
Gillian Ingham was educated at Ravensbourne College of Art (BA) and Chelsea School of Art (MA). She was elected to the London Group in 1981 and is currently Vice President. From 1990-2012 she was Head of Art at Kensington and Chelsea College.
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Annie Johns
“Making makes, say, boxes and the boxes may be good to look at, but making always matters: so, if anything is to be made to last, it might as well be the making as the box”*
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Judith Jones
As a Fine Art Photographer my work often relates to personal conflicts and human frailties.
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