Art Garden Exhibition
For 2026, Pure makes a bold Chelsea Flower Show debut with an immersive art and garden experience created in collaboration with award-winning designer Ali Dempster. Set within a bespoke pavilion and curated landscape, this living gallery brings contemporary art and nature together in striking harmony.
Designed to showcase an exceptional roster of artists, the space transforms how art is experienced, beyond the traditional exhibition and into a fully sensory environment. Sculpture, colour, and form unfold within a beautifully crafted setting that invites collectors and visitors to engage with art in a more powerful, memorable way.
Pure Fine Art at Chelsea is more than an exhibition, it is a destination where creativity, craftsmanship, and innovation come vividly to life..
All the artwork listed below will be available to view on Garden Stand RHW248 - come and find us!
Carole Bury
The purity and strength of snowdrops shine so brightly, and often in unexpected places.
2026, Pleated Ino Shi paper 18gsm. Graphite. Sumi Ink. Spun Silk Threads.Contains 2.8 metres of paperLimed ash box frame with ARTGlass. Artwork size 33cm x 16cm x 2cm, Framed size 56cm x 29cm x 4cm
The Psalms and Proverbs are poetic, visual and prophetic, full of wisdom, inspiration and love. I know this is an incredibly general statement; however in this drawing I have searched and worked really hard to produce a Meditative Work. An image endeavouring to illustrate compassion, kindness, humility, self control, gentleness, patience, forgiveness and love. Proverbs 3:3 (The Message translation)
10oz cotton canvas, several coats of white acrylic primer, Sanded between each layer, drawing on Canvas using 2B, 4B, 6B, and 8B graphite pencils, professional fixative, artist quality matt varnish, signed, unique
The Psalms and Proverbs are poetic, visual and prophetic, full of wisdom, inspiration and love. I know this is an incredibly general statement; however in this drawing I have searched and worked really hard to produce a Meditative Work. An image endeavouring to illustrate compassion, kindness, humility, self control, gentleness, patience, forgiveness and love. Proverbs 3:3 (The Message translation)
10oz cotton canvas, several coats of white acrylic primer, Sanded between each layer, Pencil drawing on Canvas using 2B, 4B, 6B, and 8B graphite pencils, Professional Fixative, Artist Quality Matt Varnish, signed, unique
70cm x 70cm x 4.5cm
Reversing imagery will afford clarity and reveal rhythms. Spring time leaves are precious in the sunshine.
2026, Pleated Ino Shi paper 18gsm. Graphite. Sumi Ink. Spun Silk Threads. Contains 2.8 metres of paper. Limed ash box frame with ARTGlass. Artwork size 33cm x 16cm x 2cm, Frames size 56cm x 29cm x 4cm
Pleated Bib Tengujo paper 12gsm on a Princess Pleater. Sumi Ink. Cotton Threads, Containing three metres of paper. Limed ash box frame with ARTGlass. Artwork size 16cm x 13.5cm x 1.5cm, Framed size 25cm x 25cm x 4cm
The Apple Tree, in the Heritage Fruit Orchard is nestled to the side of vegetable gardens, separated by a double row of tall evergreen hedges, and on the other side is a steep slope buzzing with bees and several hives. Rococo Gardens, Painswick.
2026, Pencil drawing on Fabriano Artistico 140lbs Hot PressLimed Ash Box Frame with ARTGlass. Artwork size 19cm x 19cm, Framed size 30cm x 30cm x 2cm
Pleated Bib Tengujo paper 12gsm on a Princess Pleater. Sumi Ink. Cotton ThreadsContaining three metres of paperLimed ash box frame with ARTGlass. Artwork size 16cm x 13.5cm x 1.5cm, Frames size 25cm x 25cm x 4cm
Heritage apple orchard lying dormant during the Winter in the lyrical Rococo Gardens in Painswick, Gloucestersire.
2024, Pencil on Bockingford 140lbs Hot PressLimed ash box frame with ARTGlass. Artwork size 19cm x 19cm, Frames size 30cm x 30cm x 2cm
The Exedra is a Meeting Place in the lush Rococo Gardens surrounded by tall mature woodlands. Wind through the vegetable gardens and vines to the bowling green and rest awhile by the plunge pool. And then take a turn around the Swan Lake.
Pencil on heavyweight cartridge paper. Limed ash box frame with ARTGlass. Artwork size 16cm x 14cm, Framed size 30cm x 30cm x 2cm
Snowdrops have a wonderful ability to grow and spread in intimate areas of our gardens.
2026, Pencil on Saunders Waterford 90lbs Hot Press. Limed ash box frame with ARTGlass. Artwork size 19cm x 19cm, Framed size 30cm x 30cm x 2cm
Carolyn MacLeod
I paint trees because they feel like companions rather than subjects. When I’m working, I’m not trying to describe what a tree looks like, I’m responding to how it feels to stand near one, to notice its quiet persistence, its generosity with shade, colour, and time.
2025, Oil on canvas, Artwork size 100cm x 100cm, Framed size 104cm x 104cm
Colour leads the way for me. I let it carry mood, memory, and movement, allowing each tree to emerge slowly, intuitively. Some feel playful, others grounded or contemplative. None are fixed.
2026, Oil on canvas, Artwork size 80cm x 60cm, Framed size 84cm x 64cm
Colour leads the way for me. I let it carry mood, memory, and movement, allowing each tree to emerge slowly, intuitively. Some feel playful, others grounded or contemplative. None are fixed. They shift as I work, much like trees do themselves, adapting, leaning, reaching.
2025, Oil on canvas, Artwork size 40cm x 30cm, Framed 44cm x 34cm
I paint trees because they feel like companions rather than subjects. When I’m working, I’m not trying to describe what a tree looks like, I’m responding to how it feels to stand near one, to notice its quiet persistence, its generosity with shade, colour, and time.
2025, Oil on canvas, Artwork size 100cm x 100cm, Framed size 104cm x 104cm
I paint trees because they feel like companions rather than subjects. When I’m working, I’m not trying to describe what a tree looks like, I’m responding to how it feels to stand near one, to notice its quiet persistence, its generosity with shade, colour, and time.
2025, Oil on canvas, Artwork size 100cm x 100cm, Framed size 104cm x 104cm
Colour leads the way for me. I let it carry mood, memory, and movement, allowing each tree to emerge slowly, intuitively. Some feel playful, others grounded or contemplative. None are fixed.
2026, Oil on canvas, Artwork size 80cm x 60cm, Framed size 84cm x 64cm
I paint trees because they feel like companions rather than subjects. When I’m working, I’m not trying to describe what a tree looks like, I’m responding to how it feels to stand near one, to notice its quiet persistence, its generosity with shade, colour, and time.
2022, Oil on canvas, Artwork size 100cm x 100cm, Framed size 104cm x 104cm
I paint trees because they feel like companions rather than subjects. When I’m working, I’m not trying to describe what a tree looks like, I’m responding to how it feels to stand near one, to notice its quiet persistence, its generosity with shade, colour, and time.Colour leads the way for me. I let it carry mood, memory, and movement, allowing each tree to emerge slowly, intuitively. Some feel playful, others grounded or contemplative. None are fixed.
2025, Oil on canvas, Artwork size 30cm x 30cm, Framed size 34cm x34cm
I paint trees because they feel like companions rather than subjects. When I’m working, I’m not trying to describe what a tree looks like, I’m responding to how it feels to stand near one, to notice its quiet persistence, its generosity with shade, colour, and time.Colour leads the way for me. I let it carry mood, memory, and movement, allowing each tree to emerge slowly, intuitively. Some feel playful, others grounded or contemplative. None are fixed.
2025, Oil on canvas, Artwork size 30cm x 30cm, Framed size 34cm x 34cm
These paintings are not about a specific time or place. They come from moments of looking and being still long enough to notice small changes: light moving through leaves, branches holding space, the sense that something steady is present even when everything else feels in motion. Painting them is a way of paying attention, and of staying connected.
2025, Oil on canvas, Artwork size 80cm x 60cm, Framed size 84cm x 64cm
Colour leads the way for me. I let it carry mood, memory, and movement, allowing each tree to emerge slowly, intuitively. Some feel playful, others grounded or contemplative. None are fixed.
2025, Oil on canvas, Artwork size 80cm x 60cm, Framed size 84cm x 64cm
Colour leads the way for me. I let it carry mood, memory, and movement, allowing each tree to emerge slowly, intuitively. Some feel playful, others grounded or contemplative. None are fixed. They shift as I work, much like trees do themselves, adapting, leaning, reaching.
2023, Oil on canvas, Artwork size 80cm x 60cm, Framed size 84cm x 64cm
Charlie Noel
Handmade glass poppy on glass and wooden base with copper stem. All Poppies are individual and each has unique qualities. Approximate height 25cm.
This handmade birdbath is inspired by nature, the sky, and the birds near where I live. Each section of rod was pulled from large sheets of glass to create “Murrine Cane”. It was important that reflections from the different shades of blue bounced off the plinth, as if dancing in the sky.
Glass, Diameter 36cm, 14 cm Height
Ellie Drake-Lee
2025, Steel, lead and glass, 140cm x 18cm x 1cm
2025, Steel, glass and lead, 140cm x 18cm x 1cm
Kirsti Matthews
This large bowl series is rooted in curiosity, experimentation, and the dialogue between control and unpredictability. I work primarily with stoneware and porcelain. materials which allow me explore both strength and delicacy in form.
My approach to making is guided by a fascination with transformation - how clay shifts through touch, through fire and through the alchemy of glaze.
Each of my pieces allows the clay to behave on its own terms, embracing natural slumping, cracking and settling as part of its final form. These quiet shifts are not corrected but welcomed, recording the material's own decisions within the finished work.
Stoneware with porcelain slip, glazes, oxides and underglazes, D36cm x H15cm
This large bowl series is rooted in curiosity, experimentation, and the dialogue between control and unpredictability. I work primarily with stoneware and porcelain. materials which allow me explore both strength and delicacy in form.
My approach to making is guided by a fascination with transformation - how clay shifts through touch, through fire and through the alchemy of glaze.
Each of my pieces allows the clay to behave on its own terms, embracing natural slumping, cracking and settling as part of its final form. These quiet shifts are not corrected but welcomed, recording the material's own decisions within the finished work.
Stoneware with porcelain slip, glazes and underglazes, D34cm x H14cm
This large bowl series is rooted in curiosity, experimentation, and the dialogue between control and unpredictability. I work primarily with stoneware and porcelain. materials which allow me explore both strength and delicacy in form.
My approach to making is guided by a fascination with transformation - how clay shifts through touch, through fire and through the alchemy of glaze.
Each of my pieces allows the clay to behave on its own terms, embracing natural slumping, cracking and settling as part of its final form. These quiet shifts are not corrected but welcomed, recording the material's own decisions within the finished work.
Stoneware with porcelain slip, glazes, oxides and underglazes, D38cm x H18cm
This large bowl series is rooted in curiosity, experimentation, and the dialogue between control and unpredictability. I work primarily with stoneware and porcelain. materials which allow me explore both strength and delicacy in form.
My approach to making is guided by a fascination with transformation - how clay shifts through touch, through fire and through the alchemy of glaze.
Each of my pieces allows the clay to behave on its own terms, embracing natural slumping, cracking and settling as part of its final form. These quiet shifts are not corrected but welcomed, recording the material's own decisions within the finished work.
Stoneware with porcelain slip, glazes oxides and underglazes, D36cm x H14cm
This large bowl series is rooted in curiosity, experimentation, and the dialogue between control and unpredictability. I work primarily with stoneware and porcelain. materials which allow me explore both strength and delicacy in form.
My approach to making is guided by a fascination with transformation - how clay shifts through touch, through fire and through the alchemy of glaze.
Each of my pieces allows the clay to behave on its own terms, embracing natural slumping, cracking and settling as part of its final form. These quiet shifts are not corrected but welcomed, recording the material's own decisions within the finished work.
Stoneware with porcelain slip, glazes, oxides and underglazes
This large bowl series is rooted in curiosity, experimentation, and the dialogue between control and unpredictability. I work primarily with stoneware and porcelain. materials which allow me explore both strength and delicacy in form.
My approach to making is guided by a fascination with transformation - how clay shifts through touch, through fire and through the alchemy of glaze.
Each of my pieces allows the clay to behave on its own terms, embracing natural slumping, cracking and settling as part of its final form. These quiet shifts are not corrected but welcomed, recording the material's own decisions within the finished work.
Stoneware with porcelain slip, glazes and underglazes, D31cm x H14cm
This large bowl series is rooted in curiosity, experimentation, and the dialogue between control and unpredictability. I work primarily with stoneware and porcelain. materials which allow me explore both strength and delicacy in form.
My approach to making is guided by a fascination with transformation - how clay shifts through touch, through fire and through the alchemy of glaze.
Each of my pieces allows the clay to behave on its own terms, embracing natural slumping, cracking and settling as part of its final form. These quiet shifts are not corrected but welcomed, recording the material's own decisions within the finished work.
Stoneware with porcelain slip, glazes, oxides and underglazes, D38cm x H18cm
Kristina Alexander
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
Mixed media, encaustic, silver metal leaf on wood board, Unique, Signed, Artwork size 40cm x 50cm
2024, Edition 1/12, Signed, Mixed Media, Artwork size 20cm x 20cm x4cm
Jonathan Hateley
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: £12,000 (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
After two sun sculptures, it felt like a natural progression to create a piece based on the moon. In the same way, the ‘Moonlight’ is suggested by a pattern of circles getting larger as they flow into the crescent dress. She has a longing for something in the quiet darkness of the night, something she’s emotionally passionate about.
Price includes VAT and oak plinth. Available to order further editions in hand painted foundry Bronze: £24,000. (3-5 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.
Shipping not included - please contact Pure for a quotation
‘Blighty’ was about creating an affectionate nod the country I was born and live in. The title being the term used to refer to Britain by soldiers in World War One. Whilst the country is so much more than wind and rain, owning a dog I know full well how they can have something completely different in mind to you.
Price includes VAT. Available to order further editions in: hand painted foundry Bronze: £14,750. (3-5 months), hand painted Resin bronze: £5,000 (2-3 months) This piece is suitable for indoors only.
Hand painted bronze resin, 44cm x 47cm x 15cm
This sculpture grew out of seeing the lichen growing on stones on the beach. I like the possibility of the human form in certain positions appearing stone-like, and at the same time, our figure is in blissful sleep, oblivious to time while nature forms over her.
Price includes VAT.
Available to order further editions in: hand painted foundry Bronze: £22,500. (3-5 months), hand painted Resin bronze: £6,750 (2-3 months) This piece is suitable for indoors only.
2022, Edition 8/12, Hand painted resin bronze, signed, H17cm x W37cm x D17cm, approx 3kg, Made to order
Shipping not included - please contact Pure for a quotation
The idea of ‘Ripples’ came during a walk along the River Medway. Looking at the reflections in the water I thought to cause some ripples myself by throwing stones and taking photos. As well as those formed on the river, the ripples extended into an idea for a sculpture. An outstretched foot has perhaps caused the ripples which appear over her, a moment in time, which will gradually disappear. I have always loved the song of the same name by the band Genesis, which seems to be a metaphor for the transience of beauty and on reflection, seems to fit.
Price includes VAT. Available to order further editions in: hand painted foundry Bronze: £20,500. (3-5 months), hand painted Resin bronze: £6,300 (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.
2021, Edition 3/12, Hand painted bronze resin, H59cm x W27cm x D27cm
The start of my sequence has calmness, stillness, beginnings, and birth. As the title states, the figure also represents a bud. Having finished the figure, I began creating the new leaf surface, the recesses also formed part of the texture. I wanted the figure in a curled-up position, but one that couldn’t be maintained for too long, so the bud is ready to unfurl at any moment.
2017, Hand painted bronze, Size 57cm x 14cm x 18cm
Price includes VAT.
Available to order further editions in hand painted foundry Bronze: £14,750. (3-5 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.
Hand painted bronze, Edition 3/9, Size H67cm x W58cm x D50cm + plinth H100cm, Total height is 167cm, signed, Oak plinth and VAT included, Made to order, timeframe 3-5 months
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
‘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
In reflecting nature in my sculpted figures, this time I wanted to suggest the rise and fall of the sun. ‘Sunrise' is a morning stretch, with circles symbolising the sun, getting increasingly larger as they move up the figure, a day set with energy and optimism.
Price includes VAT.
Available to order further editions in: hand painted foundry Bronze: £23,000 (3-5 months), hand painted Resin bronze: £6,600 (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.
2019, Hand painted bronze resin, 92cm x 26cm x 26cm
Liliana Dobbs
2026, Oil, Artwork size 121cm x 91cm, Framed Size 123cm x 93cm
2026, Oil, Artowork size 30cm x 30cm, Framed size 33cm x 33cm
2025, Oil, Artwork size 70cm x 60cm, Framed size 73cm x 63cm
2026, Oil, Artwork size 20cm x 20cm, Framed size 23cm x 23cm
2025, Oil, Artwork size 70cm x 60cm, Framed size 73cm x 63cm
Louisa Crispin
Graphite, Artwork size 25cm x 15cm, Framed size 62cm x 50cm x 4cm
Graphite, Artwork size 20cm x 15cm, Framed size 58cm x 50cm x 4cm
2019, Graphite, Artworks size 30cm x 20cm, Framed size 74cm x 52cm x 4cm
2024, Graphite, Artwork size 24.5cm x 10cm, Framed Size 67cm x 54.5cm x 4cm
Graphite, Artwork size 12cm x 12cm, Framed size 39cm x 35cm x 2cm
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
2023, Graphite / embossing, Artwork size 12cm x 12cm, 39cm x 35cm x 2cm
Observational nature study based on Bird's-foot Trefoil 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. The seed heads resemble bird's feet, hence one of it's common names.
These plants are the larval food source for the Common Blue Butterfly, Polyommatus icarus. A tiny delicate butterfly now increasingly present in my garden. The upperwings vary from blue through brown and can be distinguished from the male Brown Argus by the placing of spots and the size of the abdomen.
2023, Graphite, Artwork size 12cm x 12cm, 39cm x 35cm x 2cm
2022, Graphite / pastel, Artwork size 14cm x 7cm, 41cm x 30cm x 2cm
From the Insects Collection
Graphite, Artwork size 6.5cm x 7cm, Framed size 15.5cm x 15cm x 2cm
2020, Graphite / embossing, Artwork size 12cm x 12cm, 39cm x 35cm x 2cm
Mark Austin
Flint is the first in Mark Austin’s Limited Edition Bronze Sculptures: Flint SeriesInspired by the organic beauty of weathered pebbles discovered during his sketch and walking practice, Mark Austin presents the Flint series, an evocative collection of limited-edition bronze sculptures. Drawing on natural forms and their tactile simplicity, this series pays homage to the enduring essence of nature, with a subtle nod to the influential works of Barbara Hepworth.
The Flint series captures the smooth, flowing contours of stones shaped by time and elements, celebrating the timeless elegance of natural textures. Each piece features an interplay of negative space, as seen in the central voids, which invite contemplation of balance, harmony, and the relationship between form and emptiness.Crafted in bronze, these sculptures embody both refinement and accessibility.
At 20 cm high x 12 cm wide x 8 cm deep, their compact size and elegant patina make them a perfect addition to intimate or larger spaces. Each piece is available in a strictly limited edition, ensuring exclusivity for collectors. The Flint series offers a unique opportunity to own a work that bridges the organic allure of nature and the timeless elegance of modern sculpture.
Material: Bronze, Series Name: Flint, Edition Size: 9, Dimensions: 20 cm (H) x 12 cm (W) x 8 cm (D)
The second in Mark Austin’s Limited Edition Bronze Sculptures: Flint Series
Inspired by the organic beauty of weathered pebbles discovered during his sketch and walking practice, Mark Austin presents the Flint series, an evocative collection of limited-edition bronze sculptures. Drawing on natural forms and their tactile simplicity, this series pays homage to the enduring essence of nature, with a subtle nod to the influential works of Barbara Hepworth.
The Flint series captures the smooth, flowing contours of stones shaped by time and elements, celebrating the timeless elegance of natural textures. Each piece features an interplay of negative space, as seen in the central voids, which invite contemplation of balance, harmony, and the relationship between form and emptiness.
Crafted in bronze, these sculptures embody both refinement and accessibility. Their compact size and elegant patina make them a perfect addition to intimate or larger spaces. Each piece is available in a strictly limited edition, ensuring exclusivity for collectors. The Flint series offers a unique opportunity to own a work that bridges the organic allure of nature and the timeless elegance of modern sculpture.
Material: Bronze, Series Name: Flint, Artwork size 20 cm high x 12 cm wide x 8 cm deep, Edition Size: 9
The fifth in Mark Austin’s Limited Edition Bronze Sculptures: Flint Series
Inspired by the organic beauty of weathered pebbles discovered during his sketch and walking practice, Mark Austin presents the Flint series, an evocative collection of limited-edition bronze sculptures. Drawing on natural forms and their tactile simplicity, this series pays homage to the enduring essence of nature, with a subtle nod to the influential works of Barbara Hepworth.
The Flint series captures the smooth, flowing contours of stones shaped by time and elements, celebrating the timeless elegance of natural textures. Each piece features an interplay of negative space, as seen in the central voids, which invite contemplation of balance, harmony, and the relationship between form and emptiness.
Crafted in bronze, these sculptures embody both refinement and accessibility. At 20 cm high x 12 cm wide x 8 cm deep, their compact size and elegant patina make them a perfect addition to intimate or larger spaces. Each piece is available in a strictly limited edition, ensuring exclusivity for collectors.
Flint series offers a unique opportunity to own a work that bridges the organic allure of nature and the timeless elegance of modern sculpture.
Material: Bronze, Series: Flint, Edition Size: 9, Dimensions: 20 cm (H) x 12 cm (W) x 8 cm (D)
The forth in Mark Austin’s Limited Edition Bronze Sculptures: Flint Series
Inspired by the organic beauty of weathered pebbles discovered during his sketch and walking practice, Mark Austin presents the Flint series, an evocative collection of limited-edition bronze sculptures. Drawing on natural forms and their tactile simplicity, this series pays homage to the enduring essence of nature, with a subtle nod to the influential works of Barbara Hepworth.
The Flint series captures the smooth, flowing contours of stones shaped by time and elements, celebrating the timeless elegance of natural textures. Each piece features an interplay of negative space, as seen in the central voids, which invite contemplation of balance, harmony, and the relationship between form and emptiness.
Crafted in bronze, these sculptures embody both refinement and accessibility. Their compact size and elegant patina make them a perfect addition to intimate or larger spaces. Each piece is available in a strictly limited edition, ensuring exclusivity for collectors. The Flint series offers a unique opportunity to own a work that bridges the organic allure of nature and the timeless elegance of modern sculpture.
Material: Bronze, Series Name: Flint, Edition Size: 9, Dimensions: 20 cm (H) x 12 cm (W) x 8 cm (D)
The third in Mark Austin’s Limited Edition Bronze Sculptures: Flint Series
Inspired by the organic beauty of weathered pebbles discovered during his sketch and walking practice, Mark Austin presents the Flint series, an evocative collection of limited-edition bronze sculptures. Drawing on natural forms and their tactile simplicity, this series pays homage to the enduring essence of nature, with a subtle nod to the influential works of Barbara Hepworth.
The Flint series captures the smooth, flowing contours of stones shaped by time and elements, celebrating the timeless elegance of natural textures. Each piece features an interplay of negative space, as seen in the central voids, which invite contemplation of balance, harmony, and the relationship between form and emptiness.
Crafted in bronze, these sculptures embody both refinement and accessibility. Their compact size and elegant patina make them a perfect addition to intimate or larger spaces. Each piece is available in a strictly limited edition, ensuring exclusivity for collectors. The Flint series offers a unique opportunity to own a work that bridges the organic allure of nature and the timeless elegance of modern sculpture.
Material: Bronze, Series Name: Flint, Edition Size: 9, Dimensions: 20 cm (H) x 12 cm (W) x 8 cm (D)
The sixth in Mark Austin’s Limited Edition Bronze Sculptures: Flint Series
Inspired by the organic beauty of weathered pebbles discovered during his sketch and walking practice, Mark Austin presents the Flint series, an evocative collection of limited-edition bronze sculptures. Drawing on natural forms and their tactile simplicity, this series pays homage to the enduring essence of nature, with a subtle nod to the influential works of Barbara Hepworth.
The Flint series captures the smooth, flowing contours of stones shaped by time and elements, celebrating the timeless elegance of natural textures. Each piece features an interplay of negative space, as seen in the central voids, which invite contemplation of balance, harmony, and the relationship between form and emptiness.
Crafted in bronze, these sculptures embody both refinement and accessibility. Their compact size and elegant patina make them a perfect addition to intimate or larger spaces. Each piece is available in a strictly limited edition, ensuring exclusivity for collectors. The Flint series offers a unique opportunity to own a work that bridges the organic allure of nature and the timeless elegance of modern sculpture.
Material: Bronze, Series Name: Flint, Edition Size: 9, Dimensions: 20 cm (H) x 12 cm (W) x 8 cm (D)
The first in the larger scale works in Mark Austin’s Limited Edition Bronze Sculptures: Flint C Series
Inspired by the organic beauty of weathered pebbles discovered during his sketch and walking practice, Mark Austin presents the Flint series, an evocative collection of limited-edition bronze sculptures. Drawing on natural forms and their tactile simplicity, this series pays homage to the enduring essence of nature, with a subtle nod to the influential works of Barbara Hepworth.
The Flint C series captures the smooth, flowing contours of stones shaped by time and elements, celebrating the timeless elegance of natural textures. Each piece features an interplay of negative space, as seen in the central voids, which invite contemplation of balance, harmony, and the relationship between form and emptiness.
Crafted in bronze, these sculptures embody both refinement and accessibility with elegant patina make them a perfect addition to intimate or larger spaces. Each piece is available in a strictly limited edition, ensuring exclusivity for collectors. The Flint series offers a unique opportunity to own a work that bridges the organic allure of nature and the timeless elegance of modern sculpture.
Material: Bronze, Series Name: Flint, Edition Size: 9, Dimensions: 31 cm (H) x 31 cm (W) x 18cm (D)
Sally Bramble
Encaustic wax, Artwork size 122cm x 45cm, Framed size 125cm x 48cm
Encaustic wax, Artwork size 30cm x 30cm, Framed size 40cm x 40cm
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
Inspired by the gorgeous Spring blossom trees around Bournville which make me smile every year.
Encaustic wax and hologram pigments, Artwork size 84cm x 59cm, Framed size 90cm x 65cm
Encaustic wax, Artwork size 30cm x 30cm, Framed size 40cm x 40cm
Encaustic wax and hologram pigments, unique, signed, artwork size 40cm x 120cm, framed size 45cm x 125cm x 5cm
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 30cm x 30cm, Framed size 40cm x 40cm
Inspired by foxgloves hiding in the hedge under the cedar tree.
Encaustic wax and hologram pigments, Artwork size 84cm x 59cm, Framed size 90cm x 65cm
Encaustic wax, Artwork size 30cm x 30cm, Framed size 40cm x 40cm
Encaustic wax and hologram pigments, unique, signed
Artwork size 40cm x 120cm, Framed size 45cm x 125cm x 5cm
Vincent Matthews
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.
Surreal. Painted from imagination.
2022, Oil on canvas, Artwork size 50cm x 61.5cm x 2cm, Framed size 56.4cm 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.
Surreal, Painted from imagination.
2023, 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 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 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
Surreal, Painted from imagination.
2021, Oil on linen, Artwork size 50cm x 61cm x 2cm, Framed size 56.5cm x 66.4cm x 4cm