SHELLEY ROSE
KIRSTI MATTHEWS
KRISTINA ALEXANDER
VINCENT MATTHEWS
LOUISA CRISPIN
LILIANA DOBBS
FRAN WHITE
ANDREA SHEARING
SALLY BRAMBLE
ALISON HOLT
JOHNATHAN HATELEY
SHELLEY ROSE KIRSTI MATTHEWS KRISTINA ALEXANDER VINCENT MATTHEWS LOUISA CRISPIN LILIANA DOBBS FRAN WHITE ANDREA SHEARING SALLY BRAMBLE ALISON HOLT JOHNATHAN HATELEY
Featuring painting, sculpture, photography, printmaking, textiles, ceramics and mixed media, the exhibition will celebrate the many ways artists respond to the world around them. While each practice is distinct, the works are connected by moments of stillness, reflection and quiet observation, inviting visitors to pause and engage more deeply with the stories, emotions and ideas they reveal.
As the seasons shift from autumn into spring, The Edge of Quiet offers an evolving journey through contemporary art, demonstrating the richness and diversity of Pure Arts Group's creative community and the enduring power of art to inspire, connect and encourage contemplation.
Alison Holt
This is part of my Aerial Landscapes series. This raked perspective captures the sense of scale and majesty of the landscape as the river snakes into the distance.The silk painted river with it's subtle changes in tone contrasts with the stitched textural interpretation of the forests and woodlands. The interplay of these different surfaces next to each other gives an extra dimension.
Freemotion machine embroidery on painted silk, signed, wood frame, Artwork size 23cm x 12.5cm, Framed size 40cm x 30cm
A quiet early morning walk in the harbour at Portscatho. The tide and boats are out and the mooring chains are exposed. The colour and texture of the rusty chain draped over wet rocks tells the story. Freemotion stitch captures the detail and silk paint gives the less defined sea and headlands a softness and distance.
Freemotion machine embroidery on painted silk, signed, wood frame. Artwork size 38cm x 20cm, Framed size 58cm x 40cm
A snowfall among the birch trees. The sun was creating striking blue shadows sitting beautifully with the rich terracotta shades of the branches. The layering of stitches and closely observed details give the depth to this piece. This is one of a series of winter woodlands exploring the strong verticals slicing through the composition.
Freemotion machine embroidery on painted silk, signed, wood frame. Artwork size 18cm x 12cm, Framed size 36cm x 30cm
The view from my house on a cold grey day with a dramatic hoar frost etching out the details of the grasses and trees. It was a moment that I wanted to interpret in stitch using a limited palette, reflecting the soft winter light and the early morning eiree silence.
Freemotion machine embroidery on painted silk, signed, wood frame. Artwork size 23cm x 12.5cm, Framed size 40cm x 30cm
Andrea Shearing
In this painting of the Cuckmere River by night, I have chosen to include the waning of the sickle moon. A crescent moon symbolizes the renewal, growth and change. I have tried to embue this famous landmark with personal meaning to encourage people to meditate on it and relate to their own journey of growth.
Acrylic on MDF, Artwork size 36cm x 39.5cm, signed
This is one of the early waterfall paintings from the Dordogne which I made for the solo exhibition on H2O I won in a national exhibition. Here I not only explored the use of transparent glazes built up in layers but also put bright under painting on the MDF before starting the final image. Having built up the final image I then sanded selected areas to show the ground colour through the top layer as a texture.
Acrylic on MDF, signed, Artwork size 59cm x 32cm x 17cm
This nighttime painting of the Downs with it's small sickle moon contrasts the simple banded night with the long rolling landscape. I never cease to be fascinated by the rythyms, arcs and folds of the sweeping Downs. The palette is carefully selected to create a mysterious atmosphere typical of night scenes of the downs.
Acrylic on MDF, signed, Artwork size 20cm x 80cm
The quality of the long gentle arcs of the elongated hills of the South Downs is a unique feature of the East Sussex Landscape. By the time you enter West Sussex the quality of the arcs has changed. One of the other characteristics of the South Downs is the way the fields fold and tuck into each other. This provides the opportunity to create a distinct form of pattern making. I use a variety of Templates and French curves to draw the arches as they help me capture the distinct quality of the clarity of line they are drawn with. They feel as if they are stretching to touch each other. I don’t know of any other county where the landscape has these qualities. I try to distil these elements to express the essence of this environment.
Artwork size 34cm x 63cm
Once again, I am enticed by the contrasts in nature. The night and the day, the sun and the moon and the warmth of the sun and cold of the ice. The front of this piece depicts looking through an ice arch and seeing the entrance to the dark inside of an ice cave in the distance beyond the arch. The other side is looking from inside the cave out at the ice arch at sunset. I was bought up in the Swiss mountains so my relationship with ice and snow has a deeper inner meaning for me. Symbolically this expresses the relationship of our inner and outer selves. The exploration of our inner darkness and the search for light. The poetry of life.I also want to make people appreciate the beauty of the Arctic environment and be inspired to care for this fragile area.
Acrylic on MDF
Sally Bramble
Inspired by trips to Vietnam, especially a recent motorbike ride into the mountains and jungle close to the Cambodian border.
Encaustic wax and hologram pigments, Artwork size 122cm x 40cm, Framed size 123cm x 41cm
Encaustic wax, Artwork size 122cm x 45cm, Framed size 125cm x 48cm
Shelley Rose
A glowing portal - opening to a world beyond, suggesting a future full of new possibilities.
Mixed media on canvas, Copper leaf to front of timber frame, black stain edge.
Artwork size 30cm x 30cm, Framed size 40cm x 40cm
A glowing portal - opening to a world beyond, suggesting a future full of new possibilities.
Mixed media on canvas, signed, Copper leaf to front of timber frame, black stain edge.
Artwork size 30cm x 30cm, Framed size 40cm x 40cm
A glowing portal - opening to a world beyond, suggesting a future full of new possibilities.
Mixed media on canvas, signed, Copper leaf to front of timber frame, black stain edge.
Artwork size 30cm x 30cm, Framed size 40cm x 40cm
Kristina Alexander
Mixed media, encaustic, silver metal leaf on wood board, Unique, Signed, Artwork size 40cm x 50cm
Garden Jewels Series
Each piece begins in the artist’s garden — a fleeting flower, gathered light, a moment almost missed. Layers of photography, encaustic wax, silver leaf and mixed media are fused onto birchwood panels, preserving fragments of the natural world like small illuminated memories. The silver beneath the surface catches changing light, allowing each artwork to shift and breathe throughout the day.
2026, Edition 1/10, Encaustic wax, paint, photography, silver leaf on birchwood canvas, Artwork size 13cm x 13cm x 2cm
Garden Jewels Series
Each piece begins in the artist’s garden — a fleeting flower, gathered light, a moment almost missed. Layers of photography, encaustic wax, silver leaf and mixed media are fused onto birchwood panels, preserving fragments of the natural world like small illuminated memories. The silver beneath the surface catches changing light, allowing each artwork to shift and breathe throughout the day.
2026, Edition 1/10, Encaustic wax, paint, photography, silver leaf on birchwood canvas, Artwork size 13cm x 13cm x 2cm
Garden Jewels Series
Each piece begins in the artist’s garden — a fleeting flower, gathered light, a moment almost missed. Layers of photography, encaustic wax, silver leaf and mixed media are fused onto birchwood panels, preserving fragments of the natural world like small illuminated memories. The silver beneath the surface catches changing light, allowing each artwork to shift and breathe throughout the day.
2026, Edition 1/10, Encaustic wax, paint, photography, silver leaf on birchwood canvas, Artwork size 13cm x 13cm x 2cm
Garden Jewels Series
Each piece begins in the artist’s garden — a fleeting flower, gathered light, a moment almost missed. Layers of photography, encaustic wax, silver leaf and mixed media are fused onto birchwood panels, preserving fragments of the natural world like small illuminated memories. The silver beneath the surface catches changing light, allowing each artwork to shift and breathe throughout the day.
2026, Edition 1/10, Encaustic wax, paint, photography, silver leaf on birchwood canvas, Artwork size 13cm x 13cm x 2cm
Garden Jewels Series
Each piece begins in the artist’s garden — a fleeting flower, gathered light, a moment almost missed. Layers of photography, encaustic wax, silver leaf and mixed media are fused onto birchwood panels, preserving fragments of the natural world like small illuminated memories. The silver beneath the surface catches changing light, allowing each artwork to shift and breathe throughout the day.
2026, Edition 1/10, Encaustic wax, paint, photography, silver leaf on birchwood canvas, Artwork size 13cm x 13cm x 2cm
Garden Jewels Series
Each piece begins in the artist’s garden — a fleeting flower, gathered light, a moment almost missed. Layers of photography, encaustic wax, silver leaf and mixed media are fused onto birchwood panels, preserving fragments of the natural world like small illuminated memories. The silver beneath the surface catches changing light, allowing each artwork to shift and breathe throughout the day.
2026, Edition 1/10, Encaustic wax, paint, photography, silver leaf on birchwood canvas, Artwork size 13cm x 13cm x 2cm
Kirsti Matthews
The texture was made with discarded materials that are kept but no longer have a voice in your life. Repurposed, they formed a quiet scene at the edge of a Sussex reed bed. Dragonflies darting around flowers and mayflies.
Stoneware, signed
Texture created with an old collograph plate that itself had been made from cardboard. The resulting print was of a woodland; however, using different underglazes, an abstract relief was created. Finished with copper oxides and lava glaze around the neck.
Stoneware, signed
The texture was made with discarded materials that are kept but no longer have a voice in your life. Repurposed, they formed a quiet ocean scene with birds and whales in the sunset under the three moons.
Stoneware, signed
Using the same collograph plate but with different underglazes and oxides the footed open bowl has a very different feel to it but is still from the same source as the vase.
Stoneware, signed
Jonathan Hateley
Hand painted bronze mounted on an oak plinth and metal black plate, Timeframe for orders: 3-5 months, Edition of 9
Also available to order in Bronze Resin: Timeframe for bronze order: 2-3 months
Dimensions: H129 W60 D30 cm, H219cm incl. plinth (plinth only 89x18x18 cm)
Shipping not included - please contact Pure for a quotation
It seems as though I have tackled interpretations of the seasons on many of my sculptures, and I had long considered creating a piece based on the turning of the seasons. The variation in colours, particularly on maple trees was a great attraction, but within myself it is a time when we mourn the loss of summer and the warmth of the sun for a short while. I wanted ’Turning’, as she literally turned towards Autumn, to have one arm aloft with energy and still clinging to her summer leaves and their greenery, while the other arm, with fading energy, pointed to more sedentary times, with reddening leaves blowing in the wind. It really felt like the seasons were turning early as I tried to photograph my ‘Turning’ sculpture, in the wind.
Price includes VAT and oak plinth.Available to order further editions in:- hand painted foundry Bronze: £33,000. (3-5 months).
Hand painted Resin bronze: £12,500 (2-3 months)The oak plinth is attached to a black metal base. This base gets staked to the ground with 4x 50cm overlapping black metal stakes.This piece is suitable for indoors or outdoors, with a plinth.
Dimensions: H129 W60 D30 cm, H219cm incl. plinth (plinth only 89x18x18 cm)
Shipping not included - please contact Pure for a quotation
Hand painted bronze mounted on an oak plinth and metal black plate, Timeframe for bronze order: 3-5 months, Edition of 9
Also available to order in Bronze Resin, Timeframe 2-3 months
Dimensions: H180 (inc. plinth) W37 D21 cm
Shipping not included - please contact Pure for a quotation
Hand painted bronze Resin mounted on an oak plinth and metal black plate. Timeframe for additional bronze resin orders: 2-3 months. Edition of 12
Also available to order in Bronze, Edition of 9: Timeframe for bronze order: 3-5 months
Dimensions: H180 (inc. plinth) W37 D21 cm
Shipping not included - please contact Pure for a quotation
2024, Edition of 9, Hand painted bronze resin, H70cm x W52cm x D22cm, signed, approx 10kg, Made to order
Shipping not included - please contact Pure for a quotation
2024, Limited Edition 5/12, Hand painted bronze resin, H70cm x W52cm x D22cm, signed, approx 10kg, Made to order
Shipping not included - please contact Pure for a quotation
Hand painted Bronze, Edition of 9
Height 50cm , Width 34cm, Depth 20cm, (Above dimensions include granite base: W20 x D20 x H3cm)
weight approx 15kg incl. granite base
Shipping not included - please contact Pure for a quotation
Hand painted Bronze Resin, Edition of 12
Height 50cm , Width 34cm, Depth 20cm, (Above dimensions include granite base: W20 x D20 x H3cm)
weight approx 15kg incl. granite base
Shipping not included - please contact Pure for a quotation
Hand painted bronze, Edition of 9, Dimensions: H67cm W44 D10cm
This sculpture originated from an idea to do a bas-relief wall plaque, but in the style of my current flow of work. I didn’t have a visual idea though until the image of a patch of earth with spring growth came to mind, but that the earth was formed of a figure and merged with the area around. It was a sculpture that I really enjoyed sculpting as it presented a variation in my workflow, although the plaque idea was soon jettisoned in favour of a freestanding piece, still bas-relief, but the patch of land having the exposed earth on the other side.
Shipping not included - please contact Pure for a quotation
This sculpture originated from an idea to do a bas-relief wall plaque, but in the style of my current flow of work. I didn’t have a visual idea though until the image of a patch of earth with spring growth came to mind, but that the earth was formed of a figure and merged with the area around. It was a sculpture that I really enjoyed sculpting as it presented a variation in my workflow, although the plaque idea was soon jettisoned in favour of a freestanding piece, still bas-relief, but the patch of land having the exposed earth on the other side.
Hand painted bronze resin, Edition of 12, Dimensions: H67cm W44 D10cm
Price includes VAT. Available to order further editions in: hand painted foundry Bronze: £22,500. (3-5 months), hand painted Resin bronze: £7,250 (2-3 months)
This piece is suitable for indoors but can be placed outdoors on a custom plinth (to be discussed with artist + additional price). A plinth would be an additional cost (to be discussed with artist) and a new order will need to be placed so fixings are in place. The oak plinth is attached to a black metal base. This base gets staked to the ground with 4x 50cm overlapping black metal stakes.
Shipping not included - please contact Pure for a quotation
Hand painted bronze on granite base, Timeframe for orders: 3-5 months, Edition of 9
Also available to order in Bronze resin: timeframe for bronze resin 2-3 months
Dimensions: H82 W15 D35 cm
Shipping not included - please contact Pure for a quotation
‘Labyrinthine’ was another sculpture born out of the photo shoot with Danielle Cato. After we had cover the shots to go with my sketched designs, we had more time in the photo studio. So I think this sculpture came about after I asked Danielle to do some poses she particularly liked. I immediately asked my photographer friend Chris to do as many shots as I needed for this pose as I knew immediately, I’d like to sculpt it. The question was, what did I want to do with it as far as texture was concerned. It had percolated in my head for some time that I liked the idea of doing something more abstracted, but even that needed to be influenced by something natural. I had found images of brain coral, and I’d distinctly remembered seeing it and being fascinated by it when scuba diving in Australia many years before. So when I actually saw a large dried out piece in a museum cabinet in Osbourne House, Isle of Wight, I saw it as confirmation I was on the right path. I wanted the brain-like forms to echo the pose itself, so after drawing the coral patterns onto the figure, I then separated them into smaller shapes, giving a maze-like effect all over the figure. The title came easy ‘Labyrinthine’ = Physically resembling a labyrinth with the qualities of a maze.
Price includes VAT. Available to order further editions in: hand painted foundry Bronze: £20,500. (3-5 months), hand painted Resin bronze: £6,850 (2-3 months)
This piece is suitable for indoors or outdoors, with or without a plinth. A plinth would cost an additional £650 and a new order will need to be placed so fixings are in place. The oak plinth is attached to a black metal base. This base gets staked to the ground with 4x 50cm overlapping black metal stakes.
Dimensions: H82 W15 D35 cm
Shipping not included - please contact Pure for a quotation
Fran White
Frosty continues an exploration into tree and negative shapes, combining an upcycled Linen roller blind, stitching and paint glued to a wooden board.
Acrylic paint & stitched on roller blind on board, Unique, Artwork size 59cm x 42cm, Wood frame
Chan Chan is inspired by a month's investigation into Negative Shapes. Acrylic paint was used on top of a previously used white cardboard.
Acrylic on white cardboard, Unique, Artwork size 40cm x 30cm, Wood frame
The inspiration for On The Huh is a combination of ongoing research into trees coupled with a recent months exploration of negative shapes.
Mixed media on up-cycled wood board, Unique, Artwork size 59cm x 42cm, Wood frame
Inspired by a month's investigation into negative shapes Silver Birch appeared on an up-cycled painting on canvas.
Acrylic on canvas, Unique, Artwork size 40cm x 30cm x 3cm
There are a pair of Holly Trees on the bank above my ‘walk to work’ I used to take when my Linen Shop was based at home. More recently I started sketching them and then was amazed to find some even more Ancient Holly Trees in the woodland near my mother in Norfolk. These ones where covered in graffiti, dates and initials. I found myself investigating and comparing the habit, bark and markings on both sets of trees.
Acrylic on unbleached canvas, Frame: Stained wood, Artwork size 60cm x 80cm x 2cm, Framed size 66cm x 86cm x 4cm
In May I joined a course - GET GROUNDED - at Emily Ball at Seawhite. We spent time in a local woodland looking at nature, collecting earth and mud from streams. We also submerged canvas and fabrics in the water and mud. Back at the studio we combined our findings with Gum Arabic and Acrylic mediums as well as powdered pigments. I glued the resulting materials to a wooden board and added a tree shape, cut from an upcyled linen blind, which I edged in stitching.
Collaged textiles with pigments, acrylic & stitch on wooden board, Wood frame, Artwork size 42cm x 60cm x 2cm
Since Lockdown sketching the pair of Yew trees outside my studio has been an ongoing fascination. More recently I played with hanging my Artisan Linen from an old rusty ball hoop on the right-hand tree. A friend who helped me in the early development of my Linen Shop used to comment that she could see how our home surroundings had inspired the designs of my linen fabric. After doing many studies in our garden I agree with her.
Mixed media on cardboard sketchbook, Frame: stained wood, Artwork size 60cm x 41cm, Framed size 71cm x 54cm x 4cm
Louisa Crispin
Graphite, Artwork size 25cm x 15cm, Framed size 62cm x 50cm x 4cm
Observational nature study based on Primroses (Primula vulgaris) growing in my lawn.
I am currently encouraging more flowers to grow in the short grass by less frequent mowing and raising the cut height. Primroses have self seeded rapidly in shady edges.
The Dark-edged Beefly, Bombylius major, is a common visitor, hovering just above the flowers as it uses it's long proboscis to feed.
2024, Graphite, Artwork size 12cm x 12cm, 39cm x 35cm x 2cm
2022, Graphite / pastel, Artwork size 14cm x 7cm, 41cm x 30cm x 2cm
2024, Graphite, Artwork size 24.5cm x 10cm, Framed Size 67cm x 54.5cm x 4cm
2023, Graphite / gold powder, Artwork size 14cm x 7cm, 41cm x 30cm x 2cm
2022, Graphite / gold powder, Artwork size 14cm x 7cm, 41cm x 30cm x 2cm
Liliana Dobbs
2026, Oil, Artwork size 121cm x 91cm, Framed Size 123cm x 93cm
Vincent Matthews
Surreal, Painted from imagination.
2021, Oil on canvas, Artwork size 50cm x 61.5cm x 2cm, Framed size 56.4cm x 66.4cm x 4cm
Oil con canvas, Wood frame graphite grey with Pewter front edge, Artwork size 35cm x 40cm x 2cm, Framed size 40cm x 45cm x 4cm
Surrealism. From imagination.
Surreal. Painted from imagination.
2021, Oil on canvas, Artwork size 50cm x 61.5cm x 2cm, Framed size 56.4cm x 66.4cm x 4cm
Surreal. Painted from imagination
2021, Oil on canvas, Artwork Size 50cm x 61cm x 2cm, Framed size 56.5cm x 66.4cm x 4cm
Oil on canvas, Wood frame graphite grey with pewter front edge, Artwork size 51cm x 61cm x 2cm, Framed size 56cm x 65cm x 4cm
Surrealism. From imagination.
Oil on canvas, Wood frame graphite grey with pewter front edge, Artwork size 40cm x 35cm x 2cm, Framed size 45cm x 40cm x 4cm
Surrealism. From imagination.
India ink and watercolour, framed size is 51cmH x 51cm wide x 2cm deep
Surreal, Painted from imagination.
2021, Oil on linen, Artwork size 50cm x 61cm x 2cm, Framed size 56.5cm x 66.4cm x 4cm
Oil on canvas, Wood frame graphite grey with pewter front edge, Artwork size 51cm x 61cm x 2cm, Framed size 56cm x 65cm x 4cm
Surrealism. From imagination.
Oil on canvas, Wood frame graphite grey with pewter front edge, Artwork size 35cm x 40cm x 2cm, Framed size 40cm x 45cm x 4cm
Surreal. From imagination.
Oil on canvas, frame is wood, graphite grey with white gold front edge, Artwork size 90cm h x 110cm w x 2cm d, Framed size 96cm h x 116cm w x 4cm d
Plein air sketch of the cottage next to the old lighthouse in Dungeness, used as reference for this drawing. When I started to add colour to my drawings.
Indian ink & watercolour, signed
“Produced from one of my Dungeness plein air sketches, when I was using colour from memory and imagination in my finished drawings”
Indian ink and watercolour, signed
46.5cm x 54.5cm x 1.5cm
“Using a plein air sketch produced at Rye Harbour, as reference. Whilst trying to sketch this a traffic queue built up for people going to the pub, instead of using the main car park. One car blocked my view, so I had to be patient. One of the common problems of sketching from life.”
Medium Indian ink, signed, unique, 43cm x 54.5cm x 1.5 cm
“During the lock down period, whilst cutting back and clearing areas of my garden, I found these old rusty little weeding forks, so I drew and painted them from observation. It was a phase in which I started adding colour to my art work.”
Indian ink & watercolour, signed, unique, Artwork size 43cm x 50.5cm x 2cm
