Over the last six years I have been developing two series of paintings which are strongly interlinked both in process and concept. I see all of these works as over-sized memento-mori. They are large scale, colour-saturated still lifes which to aim to explore the relationship between temptation and repulsion. Alongside the paintings I use screen-printing to extend the images through exploration with colour, autographic mark making and photographic imagery. Almost invariably I discover and photograph my subjects in museums; collectors and curators before me have deemed these objects to be significant and this pre-selection loads history, value and power on top of my own personal associations. The Jewel series of paintings began as a personal celebration of love and a reflection on the fragility of the ideals we yearn for; these ideas quickly evolved to encompass universal desires and darker, sometimes deadly obsessions. The Rococo series developed out of these concerns and I continue to work on both series in tandem.
Throughout my career as a painter I have worked with ‘secret’ geometry in painting. Both the facets of the precious stones and the stylised curves of the rococo ornamentation conform to these mathematical patterns. These underlying structures give an innate harmony and a grounding connection back to Renaissance ideas of universal interconnectedness.
Zooming in on small details I then edit, enlarge and edit again throughout the painting process. An arabesque detail becomes a large, surging growth which is recognisable but unnameable. We can see however, that it is something temptingly shiny and expensive - or pretending to be - something rather ostentatious to the point of becoming vulgar perhaps. The faceted jewels are similarly balanced between figuration and abstraction and allow room for imagined pareidolia. Exquisite details are described in dissolving paint; these flamboyant, sensual swirls become monstrously flashy but are also celebratory monuments to conspicuous consumption.
The difference between making the painting and looking at the painting allows me to access different parts of myself; the physical and something more meditative. After much consideration, making the first mark is a release; when physically engaging with the paint I switch to a different mode of operation. I attack the painting process with energy, working with wet on wet layers, enjoying the automatic physicality of the gesture and the tactile qualities of the medium. I play with the paint pushing it to its thickest and thinnest limits, working with impasto beside oily pools and barely tinted turps washes. Stepping back, I watch each mark seep, bleed, drip or repel its neighbour and entering a more consciously thoughtful, quieter state I consider the painting and ideas again, in quite a different way, deciding where and how to begin again.
From a distance the subject appears cohesive, even photographic, but as the viewer approaches each painting, the paint itself - the brush marks, layers and drips - come into focus, the illusion disappears and the viewer can experience the physicality of the process and is immersed in the expanse of luminous colour. The illusion of beauty and riches becomes just paint; it both defines and denies the subject and these objects of desire decay in front of our eyes.
Paula MacArthur 2017
Education
2014 Turps Arts School Correspondence Course
1993 Royal Academy Schools, Post-Graduate Diploma, Fine Art Painting
1990 Loughborough College of Art and Design, BA Hons, Fine Art Painting
Current and forthcoming exhibitions
Made in Britain
Private view 14 March, exhibition continues until 2 June
National Museum, Gdańsk, Poland
Contemporary British Painting
Private view: 5.30-8pm 25 March
Exhibition continues Monday-Friday 9.30am-4.30pm & Sundays 10am-3pm until 17 May
The Hostry, 65 The Close, Norwich NR1 4DH
Im/material bodies
Rye Creative Centre, New Road, Rye TN31 7LS
Dates and times tbc
Indoor Voices
Curated by Graham Crowley
Opening Saturday 3 August, exhibition continues 5 - 10 August by appointment 01728 747833
Greystone Industries, 87 High Street, Wickham Market, Suffolk IP13 0RA
Solo & two person exhibitions
2018 Verse: Inverse, obverse, converse, reverse, The Sevenoaks Kaleidoscope Gallery
2017 Resonance & wonder, songs & paintings by Tine Louise Kortermand & Paula MacArthur, Rye Creative Centre Gallery, East Sussex
2014 Infinitely Precious Things, VJB Arts at 60 Threadneedle Street, London downloadable catalogue here and review by Anna McNay here
2010 Amusement, Brighton Media Centre, East Sussex
2009 Showtime, The Coningsby Gallery, 30 Tottenham St, London
2009 Seaside Special, solo exhibition, The Arts Forum, St Leonards, East Sussex
Selected group exhibitions
2018 New Painting, The Crypt, St Marylebone Parish Church, London
2018 PaintLounge Berlin, Kühlhaus, Berlin
2018 In the Future, curated by Rosalind Davis, Collyer Bristow Gallery Click here for the press release.
2018 Beep Painting Prize, Swansea College of Art
2018 Superstition, Project Space Wapping, London
2018 PaintNorth, Lady Beck Project Space, Leeds
2018 Devonshire Collective, Eastbourne, five Sussex artists: Izabela Brudkiewicz, Nikki Davidson Bowman, Jane King, Paua MacArthur & April Yasamee
2018 Testcard P, The Crypt, St Marylebone Parish Church, London, NW1 5LT
2017 Contemporary Masters from Britain, 80 works selected from the Priseman Seabrook Collection of 21st Century British Painting
The Yantai Art Museum, Jiangsu Arts and Crafts Museum, Jiangsu Art Museum, and Tianjin Academy of Fine Arts Museum
Buy Exhibition Catalogue Here
2017 Summer Salon, Lubomirov Angus-Hughes, London
2017 Contemporary Masters from Britain, The Yantai Art Museum , Yantai, China
2017 Highly Inflammable, The Crypt, St Mary in the Castle, Hastings
2017 On the other side, recent works by New Road Artists, Rye Art Gallery
2017 Contemporary British Painting Summer Exhibition, Art Bermondsey Project Space
2017 Contemporary Masters from the East of England: 35 Painters from the East of England, The Cut, Halesworth, 25 April - 27 May
2017 30x30x34, Contemporary British Painting Winter Exhibition, The Crypt, St Marylebone Church, London
2016 Slippery & Amorphous NYC, Sluice Exchange Rates International Exposition, ArtHelix, Brooklyn, NYC, downloadable catalogue here
2016 Contemporary British Painting Summer Exhibition, Quay Arts, Ryde, Isle of Wight download catalogue here
2016 Slippery & Amorphous The Crypt, St Marylebone Parish Church, London download catalogue
2016 Correspond, The Artworks, 1830 Building, Shaw Lane, Halifax read the accompanying essay by Phil King
touring to Rye Creative Centre, East Sussex and Interview Room 11, Edinburgh
2016 This Year's Model, Studio 1.1, Shoreditch, London
2015 Right Here, Right Now, Rye Studio,East Sussex, Hermione Allsopp, Andrzej Jackowski, Chantal Joffe, Paula MacArthur, Dave McKean, Dom Theobald
2015 Undead Painters, ASC Gallery, New Cross Gate, London, curated by Alastair Gordon and James Petrucci
2015 Adam Fenton’s Painting Club, No Format Gallery, Woolwich
2015 Creekside Open, APT Gallery, London, selected by Richard Deacon
2015 Disturbance, Atom Gallery, Stroud Green Road, London
2015 Cold on the outside, Willowbank Crescent, Glasgow
2014 Red Xmas Studio 1.1 gallery, 57a Redchurch Street, Shoreditch, London
2014 Q14 APT Gallery, Harold Wharf, 6 Creekside, Deptford, London
2014 OVERHE(a)R(e), Aplomb Gallery, Chicago, USA
2014 Le Voci Ritrovate, Castello di Monti, Corigliano d’Otranto, Italy
2014 Zeitgeist Open ZAP, ASC Studios, London, selected by Rosalind Davies, Annabel Tilley, Andrew Bick & Juan Bolivar download the catalogue here
2014 Correspond, Turps Art School, Taplow, London, curated by Marcus Harvey, Graham Carrick & Paula MacArthur read the review by Charley Peters
2014 Off the Wall, The 9th Terrace Annual Open, London
2014 Zeitgeist Summer Exhibition, Zeitgeist Arts Projects, London
2014 20 Painters, Phoenix Brighton 10-14 Waterloo Place, Brighton download Painters' Painters essay by Maria Bonner
2014 Crash Open Salon, Charlie Dutton Gallery, 1a Princeton Street, London, selected by Phillip Allen and Neil Tait
2013 Christmas BOGOF, WW Gallery, 34/35 Hatton Garden, London, EC1N 8DX
2013 Lion and Lamb Gallery at Sluice Art Fair, Bermondsey, London
2013 The Open West, Cheltenham Art Gallery
2013 The Femail Project, The Article Gallery, Birmingham City University
2013 Navigate, Bexhill Art Trail supported by the De La Warr Pavillion, The Old Cinema, Bexhill
2013 The Open West, Newark Park Gloucestershire, review by Sunny Cheung
2013 Covert and Obscured, Frances Bardsley Gallery, Romford
2013 Tasty Modern, Schwartz Gallery, London watch the exhibition video here
2012 Seeing in the Dark, The Fletcher Centre, Rye, East Sussex
2012 Minutiae, The Stone Space, London
2012 ALAS Autumn Residency Exhibition, Matt Roberts Arts, Vyner Street, London
2012 The Perfect Nude, touring to Wimbledon Space, Exeter Phoenix Gallery & Charlie Smith London, curated by Philip Allen and Dan Coombs
2011 What the Folk Say, 26 March - December 2011, Compton Verney, Warwickshire
2010 A Thousand Words; an installation for Art in Romney Marsh, St. Nicholas’ Church
2010 London Festival Fringe Art Award, Covent Garden
2005 Ahoy Kunst Event, Rotterdam, Netherlands
1994 Four Self Portrait Artists, Walker Art Gallery, Liverpool
1993 Prize winner, John Moores 18, Walker Art gallery, Liverpool
1993 Royal Academy Post-Graduates, Grassimuseum, Leipzig, Germany
1991-3 Royal Academy of Arts Summer Exhibition, London
1989 Young Contemporaries, Whitworth Art Gallery, Manchester
1989 First Prize Winner, John Player Portrait Award, National Portrait Gallery
Residencies and collaborations
2018 Project based residency, Griffin Gallery, London
2017 Trelex Residency, Switzerland
2014 Le Voci Ritrovate, Castello di Monti, Castigliano d’Otranto, Italy supported by De La Warr Pavillion & Hastings Council
2014 Turps Art School Correspondents' Resisdency, Atelier Austmarka, Norway
2014 Brilliant Cut, Shift Dance Company & Paula MacArthur, performed at The Sinden Theatre, Tenterden & The Congress Theatre, Eastbourne
2012 ALAS Residency Matt Robert’s Arts, 25b Vyner Street, London
1994 Four Self Portrait Artists Walker Art Gallery, Liverpool
Curated exhibitions
2019 Sara Dare Paintings, Rye Creative Centre, Rye East Sussex
2018 New Painting, The Crypt, St Marylebone Parish Church, London
2018 PaintLounge Berlin, Kühlhaus, Berlin
2017 PaintLounge London, Sluice Expo, London
2016 Slippery & Amorphous, Art Helix Brooklyn
2016 NAVIGATE: Re-envisioning Landscape, Ian Brown, Gary Mckay, Steph Rubin – contemporary approaches to describing the earth’s landscape
2016 We work in the dark, we do what we can, we give what we have - explorations of boundaries, restraint & liberation
Alice Anderson, Phil Illingworth, Evy Jokhova
2015 Disturbance, Atom Gallery, London
2014 Le Voci Ritrovate, Castello di Monti, Corigliano d’Otranto, Italy supported by Hastings Council & the De La Warr Pavilion
2014 Correspond, Turps Art School, Taplow, London co-curated with Graham Carrick and Marcus Harvey
2012 Seeing in the Dark, The Fletcher Centre, Rye, East Sussex
Publications
Contemporary Masters of Britain, view exhibition catalogue here
Slippery & Amorphous NYC, view exhibition catalogue here
Slippery & Amorphous London, view exhibition catalogue here
Correspond 2016 catalogue
Contemporary Brtish Painting Summer Exhibition 2016, ISBN 9-781534-87-123 downloadable exhibition catalogue here
I don’t like art, selected essays by Graham Crowley, 2015, view Graham Crowley's Still Light essay online
Infinitely Precious Things view the exhibition catalogue online
Correspond exhibition catalogue, 2014, ISBN 978-0-9544296-5-2
Zeitgeist Open 2014, view the exhibition catalogue online
The Open West 2013, exhibition catalogue
Pushing Print Festival 2012 exhibition catalogue
What the Folk Say exhibition catalogue, Compton Verney
The Importance of Sequences, Clinical Chemist, Marek H Dominiczak
Self, compiled by Craig Kerrecoe ISBN 978-1-907437-00-7
John Moores Liverpool Exhibition 18, National Merseyside Galleries and Museum, ISBN 0-906367-66-2
Royal Academy Schools student exhibition, introduction by Norman Rosenthal
Painting Today, Bonhams, foreward by Nicholas Usherwood
Ten years of the John Player Portrait Award, National Portrait Gallery
Artist Lectures and discussions
In conversation with Anna McNay at Resonance & wonder, Rye Creative Centre, 3 June 2017 listen to the conversation here
Guest speaker at De La Warr Pavilion Artists Critique Group May 2017
Norwich University for the Arts
De La Warr Pavilion, De La Warr Pavilion, Bexhill
Jerwood Gallery, Hastings
Glasgow Artist Guild, with Marvin Gaye Chetwynd for the Glasgow Open House Festival
Disturbance, curator and artist discussion for International Womens’ Day 2014
Seeing in the dark, curators talk, The Fletcher Centre, Rye
Ivon Hitchens in context, curator’s talk, Rye Art Gallery, East Sussex
Correspond, artists’ discussion, Turps Art School, London
John Moores Painting Biennial, Walker Art Gallery, Liverpool
Awards
London Festival Fringe Art Award, second place
Prize winner, John Moores 18, Walker Art Gallery, Liverpool
Royal Academy Schools Prize for painting
First Prize Winner, John Player Portrait Award, National Portrait Gallery
Selected Collections
Jiangsu Museum of Art - China
Goodnestone Park, Kent
Priseman Seabrook Collection
Chadwicks, UEA Campus, Norwich
National Portrait Gallery, London
Baron and Baroness von Oppenheim
Royal Institute of Chartered Surveyors
Loughborough Grammar School
Ted Baker London
Double Tree Hilton Hotel, Park Lane, London
Throughout my career as a painter I have worked with ‘secret’ geometry in painting. Both the facets of the precious stones and the stylised curves of the rococo ornamentation conform to these mathematical patterns. These underlying structures give an innate harmony and a grounding connection back to Renaissance ideas of universal interconnectedness.
Zooming in on small details I then edit, enlarge and edit again throughout the painting process. An arabesque detail becomes a large, surging growth which is recognisable but unnameable. We can see however, that it is something temptingly shiny and expensive - or pretending to be - something rather ostentatious to the point of becoming vulgar perhaps. The faceted jewels are similarly balanced between figuration and abstraction and allow room for imagined pareidolia. Exquisite details are described in dissolving paint; these flamboyant, sensual swirls become monstrously flashy but are also celebratory monuments to conspicuous consumption.
The difference between making the painting and looking at the painting allows me to access different parts of myself; the physical and something more meditative. After much consideration, making the first mark is a release; when physically engaging with the paint I switch to a different mode of operation. I attack the painting process with energy, working with wet on wet layers, enjoying the automatic physicality of the gesture and the tactile qualities of the medium. I play with the paint pushing it to its thickest and thinnest limits, working with impasto beside oily pools and barely tinted turps washes. Stepping back, I watch each mark seep, bleed, drip or repel its neighbour and entering a more consciously thoughtful, quieter state I consider the painting and ideas again, in quite a different way, deciding where and how to begin again.
From a distance the subject appears cohesive, even photographic, but as the viewer approaches each painting, the paint itself - the brush marks, layers and drips - come into focus, the illusion disappears and the viewer can experience the physicality of the process and is immersed in the expanse of luminous colour. The illusion of beauty and riches becomes just paint; it both defines and denies the subject and these objects of desire decay in front of our eyes.
Paula MacArthur 2017
Education
2014 Turps Arts School Correspondence Course
1993 Royal Academy Schools, Post-Graduate Diploma, Fine Art Painting
1990 Loughborough College of Art and Design, BA Hons, Fine Art Painting
Current and forthcoming exhibitions
Made in Britain
Private view 14 March, exhibition continues until 2 June
National Museum, Gdańsk, Poland
Contemporary British Painting
Private view: 5.30-8pm 25 March
Exhibition continues Monday-Friday 9.30am-4.30pm & Sundays 10am-3pm until 17 May
The Hostry, 65 The Close, Norwich NR1 4DH
Im/material bodies
Rye Creative Centre, New Road, Rye TN31 7LS
Dates and times tbc
Indoor Voices
Curated by Graham Crowley
Opening Saturday 3 August, exhibition continues 5 - 10 August by appointment 01728 747833
Greystone Industries, 87 High Street, Wickham Market, Suffolk IP13 0RA
Solo & two person exhibitions
2018 Verse: Inverse, obverse, converse, reverse, The Sevenoaks Kaleidoscope Gallery
2017 Resonance & wonder, songs & paintings by Tine Louise Kortermand & Paula MacArthur, Rye Creative Centre Gallery, East Sussex
2014 Infinitely Precious Things, VJB Arts at 60 Threadneedle Street, London downloadable catalogue here and review by Anna McNay here
2010 Amusement, Brighton Media Centre, East Sussex
2009 Showtime, The Coningsby Gallery, 30 Tottenham St, London
2009 Seaside Special, solo exhibition, The Arts Forum, St Leonards, East Sussex
Selected group exhibitions
2018 New Painting, The Crypt, St Marylebone Parish Church, London
2018 PaintLounge Berlin, Kühlhaus, Berlin
2018 In the Future, curated by Rosalind Davis, Collyer Bristow Gallery Click here for the press release.
2018 Beep Painting Prize, Swansea College of Art
2018 Superstition, Project Space Wapping, London
2018 PaintNorth, Lady Beck Project Space, Leeds
2018 Devonshire Collective, Eastbourne, five Sussex artists: Izabela Brudkiewicz, Nikki Davidson Bowman, Jane King, Paua MacArthur & April Yasamee
2018 Testcard P, The Crypt, St Marylebone Parish Church, London, NW1 5LT
2017 Contemporary Masters from Britain, 80 works selected from the Priseman Seabrook Collection of 21st Century British Painting
The Yantai Art Museum, Jiangsu Arts and Crafts Museum, Jiangsu Art Museum, and Tianjin Academy of Fine Arts Museum
Buy Exhibition Catalogue Here
2017 Summer Salon, Lubomirov Angus-Hughes, London
2017 Contemporary Masters from Britain, The Yantai Art Museum , Yantai, China
2017 Highly Inflammable, The Crypt, St Mary in the Castle, Hastings
2017 On the other side, recent works by New Road Artists, Rye Art Gallery
2017 Contemporary British Painting Summer Exhibition, Art Bermondsey Project Space
2017 Contemporary Masters from the East of England: 35 Painters from the East of England, The Cut, Halesworth, 25 April - 27 May
2017 30x30x34, Contemporary British Painting Winter Exhibition, The Crypt, St Marylebone Church, London
2016 Slippery & Amorphous NYC, Sluice Exchange Rates International Exposition, ArtHelix, Brooklyn, NYC, downloadable catalogue here
2016 Contemporary British Painting Summer Exhibition, Quay Arts, Ryde, Isle of Wight download catalogue here
2016 Slippery & Amorphous The Crypt, St Marylebone Parish Church, London download catalogue
2016 Correspond, The Artworks, 1830 Building, Shaw Lane, Halifax read the accompanying essay by Phil King
touring to Rye Creative Centre, East Sussex and Interview Room 11, Edinburgh
2016 This Year's Model, Studio 1.1, Shoreditch, London
2015 Right Here, Right Now, Rye Studio,East Sussex, Hermione Allsopp, Andrzej Jackowski, Chantal Joffe, Paula MacArthur, Dave McKean, Dom Theobald
2015 Undead Painters, ASC Gallery, New Cross Gate, London, curated by Alastair Gordon and James Petrucci
2015 Adam Fenton’s Painting Club, No Format Gallery, Woolwich
2015 Creekside Open, APT Gallery, London, selected by Richard Deacon
2015 Disturbance, Atom Gallery, Stroud Green Road, London
2015 Cold on the outside, Willowbank Crescent, Glasgow
2014 Red Xmas Studio 1.1 gallery, 57a Redchurch Street, Shoreditch, London
2014 Q14 APT Gallery, Harold Wharf, 6 Creekside, Deptford, London
2014 OVERHE(a)R(e), Aplomb Gallery, Chicago, USA
2014 Le Voci Ritrovate, Castello di Monti, Corigliano d’Otranto, Italy
2014 Zeitgeist Open ZAP, ASC Studios, London, selected by Rosalind Davies, Annabel Tilley, Andrew Bick & Juan Bolivar download the catalogue here
2014 Correspond, Turps Art School, Taplow, London, curated by Marcus Harvey, Graham Carrick & Paula MacArthur read the review by Charley Peters
2014 Off the Wall, The 9th Terrace Annual Open, London
2014 Zeitgeist Summer Exhibition, Zeitgeist Arts Projects, London
2014 20 Painters, Phoenix Brighton 10-14 Waterloo Place, Brighton download Painters' Painters essay by Maria Bonner
2014 Crash Open Salon, Charlie Dutton Gallery, 1a Princeton Street, London, selected by Phillip Allen and Neil Tait
2013 Christmas BOGOF, WW Gallery, 34/35 Hatton Garden, London, EC1N 8DX
2013 Lion and Lamb Gallery at Sluice Art Fair, Bermondsey, London
2013 The Open West, Cheltenham Art Gallery
2013 The Femail Project, The Article Gallery, Birmingham City University
2013 Navigate, Bexhill Art Trail supported by the De La Warr Pavillion, The Old Cinema, Bexhill
2013 The Open West, Newark Park Gloucestershire, review by Sunny Cheung
2013 Covert and Obscured, Frances Bardsley Gallery, Romford
2013 Tasty Modern, Schwartz Gallery, London watch the exhibition video here
2012 Seeing in the Dark, The Fletcher Centre, Rye, East Sussex
2012 Minutiae, The Stone Space, London
2012 ALAS Autumn Residency Exhibition, Matt Roberts Arts, Vyner Street, London
2012 The Perfect Nude, touring to Wimbledon Space, Exeter Phoenix Gallery & Charlie Smith London, curated by Philip Allen and Dan Coombs
2011 What the Folk Say, 26 March - December 2011, Compton Verney, Warwickshire
2010 A Thousand Words; an installation for Art in Romney Marsh, St. Nicholas’ Church
2010 London Festival Fringe Art Award, Covent Garden
2005 Ahoy Kunst Event, Rotterdam, Netherlands
1994 Four Self Portrait Artists, Walker Art Gallery, Liverpool
1993 Prize winner, John Moores 18, Walker Art gallery, Liverpool
1993 Royal Academy Post-Graduates, Grassimuseum, Leipzig, Germany
1991-3 Royal Academy of Arts Summer Exhibition, London
1989 Young Contemporaries, Whitworth Art Gallery, Manchester
1989 First Prize Winner, John Player Portrait Award, National Portrait Gallery
Residencies and collaborations
2018 Project based residency, Griffin Gallery, London
2017 Trelex Residency, Switzerland
2014 Le Voci Ritrovate, Castello di Monti, Castigliano d’Otranto, Italy supported by De La Warr Pavillion & Hastings Council
2014 Turps Art School Correspondents' Resisdency, Atelier Austmarka, Norway
2014 Brilliant Cut, Shift Dance Company & Paula MacArthur, performed at The Sinden Theatre, Tenterden & The Congress Theatre, Eastbourne
2012 ALAS Residency Matt Robert’s Arts, 25b Vyner Street, London
1994 Four Self Portrait Artists Walker Art Gallery, Liverpool
Curated exhibitions
2019 Sara Dare Paintings, Rye Creative Centre, Rye East Sussex
2018 New Painting, The Crypt, St Marylebone Parish Church, London
2018 PaintLounge Berlin, Kühlhaus, Berlin
2017 PaintLounge London, Sluice Expo, London
2016 Slippery & Amorphous, Art Helix Brooklyn
2016 NAVIGATE: Re-envisioning Landscape, Ian Brown, Gary Mckay, Steph Rubin – contemporary approaches to describing the earth’s landscape
2016 We work in the dark, we do what we can, we give what we have - explorations of boundaries, restraint & liberation
Alice Anderson, Phil Illingworth, Evy Jokhova
2015 Disturbance, Atom Gallery, London
2014 Le Voci Ritrovate, Castello di Monti, Corigliano d’Otranto, Italy supported by Hastings Council & the De La Warr Pavilion
2014 Correspond, Turps Art School, Taplow, London co-curated with Graham Carrick and Marcus Harvey
2012 Seeing in the Dark, The Fletcher Centre, Rye, East Sussex
Publications
Contemporary Masters of Britain, view exhibition catalogue here
Slippery & Amorphous NYC, view exhibition catalogue here
Slippery & Amorphous London, view exhibition catalogue here
Correspond 2016 catalogue
Contemporary Brtish Painting Summer Exhibition 2016, ISBN 9-781534-87-123 downloadable exhibition catalogue here
I don’t like art, selected essays by Graham Crowley, 2015, view Graham Crowley's Still Light essay online
Infinitely Precious Things view the exhibition catalogue online
Correspond exhibition catalogue, 2014, ISBN 978-0-9544296-5-2
Zeitgeist Open 2014, view the exhibition catalogue online
The Open West 2013, exhibition catalogue
Pushing Print Festival 2012 exhibition catalogue
What the Folk Say exhibition catalogue, Compton Verney
The Importance of Sequences, Clinical Chemist, Marek H Dominiczak
Self, compiled by Craig Kerrecoe ISBN 978-1-907437-00-7
John Moores Liverpool Exhibition 18, National Merseyside Galleries and Museum, ISBN 0-906367-66-2
Royal Academy Schools student exhibition, introduction by Norman Rosenthal
Painting Today, Bonhams, foreward by Nicholas Usherwood
Ten years of the John Player Portrait Award, National Portrait Gallery
Artist Lectures and discussions
In conversation with Anna McNay at Resonance & wonder, Rye Creative Centre, 3 June 2017 listen to the conversation here
Guest speaker at De La Warr Pavilion Artists Critique Group May 2017
Norwich University for the Arts
De La Warr Pavilion, De La Warr Pavilion, Bexhill
Jerwood Gallery, Hastings
Glasgow Artist Guild, with Marvin Gaye Chetwynd for the Glasgow Open House Festival
Disturbance, curator and artist discussion for International Womens’ Day 2014
Seeing in the dark, curators talk, The Fletcher Centre, Rye
Ivon Hitchens in context, curator’s talk, Rye Art Gallery, East Sussex
Correspond, artists’ discussion, Turps Art School, London
John Moores Painting Biennial, Walker Art Gallery, Liverpool
Awards
London Festival Fringe Art Award, second place
Prize winner, John Moores 18, Walker Art Gallery, Liverpool
Royal Academy Schools Prize for painting
First Prize Winner, John Player Portrait Award, National Portrait Gallery
Selected Collections
Jiangsu Museum of Art - China
Goodnestone Park, Kent
Priseman Seabrook Collection
Chadwicks, UEA Campus, Norwich
National Portrait Gallery, London
Baron and Baroness von Oppenheim
Royal Institute of Chartered Surveyors
Loughborough Grammar School
Ted Baker London
Double Tree Hilton Hotel, Park Lane, London