Gina trained in Fine Art at Winchester School of Art and Fine Art and History of Art at Leeds University.

In all of Gina’s work is a fascination with light and form, be it figures enjoying the evening light on a beach or sun filtering through birch trees on her local common. It is this preoccupation with trying to capture light that inspired the recent series of ‘Vintage Light Bulbs’.

In these paintings Gina has set about trying to isolate the light source and to capture the rich glow and warmth that the filament bulbs generate. To do this she has used a classical style of painting used by 17th Century artists such as Caravaggio who used dramatic contrast known as ‘chiaroscuro’ to create light. The result is that the paintings really appear to glow.

Georgina’s work looks at the intensity of the city and the overwhelming emotions that she experiences when she is there. She often goes into the City and draws whatever she observes on location and then goes back into the studio to put them altogether as a college. Like the Surrealists she is interested in how objects and people from completely different places come to together by coincidence at the same time. In the past she has carried out an illustration collage project entitled "London's Extraordinary Neighbourhoods" where she started at different tube stations in London and drew whatever caught her eye that day.

Georgina also made work about the "Waterloo & City Line" at rush hour and how for some people it is normal to travel everyday in claustrophobic conditions that seem to her very abnormal. In her colleges she likes to give the viewer a sense of the images and sounds that we are bombarded with whilst navigating the City by using maps and grids. She uses modern technology such as Photoshop as well traditional techniques such as drawing and sewing, literally cutting, stitching and pasting images together.

Neil’s art concentrates on combining different textures and colours that are found naturally in the chosen medium, which he then emphasise with different finishes. The forms are depicted by the medium chosen, often but not exclusively organic in nature, and he works with the material to bring out its natural beauty.

Natascha loves coastlines especially those of Cornwall, the quality of light, and the textures carved out in the rocks by natures elements, the carpets of texture of heathers and gorse, combined with the colours of the ocean, lots of texture and colour. Natascha trained in textiles and colour, and texture plays a big role in her work, she loves being immersed in nature and looking into the space of the horizon where she feels a great sense of completeness. We all feel connected in certain places and Cornwall is the place for her. She has done a lot of painting of the Sardinia Coastline, and Andalucía, Spain where she lived and taught in the International School. Nature is the only true source of divine connection and she feels as one with the universe, and God her creator.

Natascha started teaching adult education and working for various art organisations as a Community Artist, she then combined her painting with teaching, artist in residence, teaching A level, running painting holidays and workshops.

As a painter Marilyn uses classical techniques to make paintings that seem real, and show the world as specific and wondrous.

She strives for a dynamic balance of forms using dark and light, crisp contrasts and soft recessions into the depths, harmonies and anomalies, all conceived to guide and encourage the eye to believe in something that is an artistic fiction. The image seems so real, and three dimensional on the flat surface of the painted canvas

Mai studied graphic design at the College of Art, Nihon University, in Tokyo, and after graduating she joined a TV and Theatre Design Company and became a Production Designer. She has a particular passion for architecture, picked up from her early years watching her architect father at work, and designing different buildings for the stage was a dream job for her. Being trained as a set designer, important aspects of her work are ‘light’ and ‘dimensions’ with which she creates a scene without actors and on to which the viewer can project their own stories and imagination.

Since moving to the UK her enthusiasm for architecture, particularly old buildings, has grown and she took time out to write a book a book on British Church Architecture for the Japanese market using her own watercolour drawings, which was published in 2012.

She has always been fascinated by the old stone building of this country and started to draw them as a way of studying ancient buildings closely, she wanted to know what it must have been like to be a mason or an architect. Drawing is too easy a way to explore the complex process that masons had to go through as they struggled to create such wonderful works in stone. The physical process of creating a perfect print is as much a challenge for a printmaker. Because of this she finds printmaking much more satisfying.

Since Mai became Artist-in-Residence at Ochre Print Studio, she has been concentrating on an innovative safer etching process using the studio’s exclusive new facilities. This process creates exactly the affect she is looking for both in drawing and sculpture and is the perfect technique for an ongoing project she started a few years ago. Great British Architecture series of prints celebrating the architectural treasures she has visited and been inspired by during her travels around the British Isles with her husband, Christopher Winn, illustrating his ‘I Never Knew That’ book series.

Liz Seward has been painting and drawing all her life. After an early career in scientific illustration and raising a family she qualified as an Adult Education lecturer and taught drawing, watercolours and mixed media for 25 years. She retired in 2003 to concentrate on her own work and freelance teaching and a busy schedule demonstrating to Art Societies throughout the country. Although she retired from teaching in 2014, she still visits Dedham Hall three times a year to teach courses there.

She exhibits widely in many galleries and in London, both at the Mall and Westminster Galleries. Her work has been reproduced as greeting cards by many organisations and she has won a number of prestigious awards. Liz has contributed to several books including ‘Watercolour Plus’, ‘The Artists’ Sketchbook’ and ‘Dynamic Acrylics’ and is a regular contributor to ‘The Artist’ magazine. She was elected to The Society of Women Artists in 1993.

Her still life paints have a light, colour and texture as well as a narrative quality in them that is enhanced by collage. Her landscapes are inspired by the countryside around her home in Lightwater, Surrey.

Jim studied Graphics at Reigate School of Art. After only two years working in design studios, Jim left the art world to work variously as a taxi driver, florist, garage hand and gardener before coming back to his artist self when he worked as an Occupational Therapy Assistant at Netherne Psychiatric Hospital. Working there with patients he discovered a way of working for his own ends through the mediums of College, Found Objects and Assemblage.

Jim’s early work was largely instinctive and later became influenced by Constructivism and Bauhaus Modernism. He enjoys the variety of interpretation that found objects afford. There are opportunities to be representational or abstract, humorous or austere. Whilst there is an undeniable satisfaction in re-purposing found materials, my work is in no way an ecological statement.

Almost always the materials he uses have a previous life at the hand of man. The satisfaction for him is to bring the aesthetic quality of the discarded, abandoned and set aside before the gaze of others.

More recently he has turned to photography and monoprint, mainly because of a recent hip operation restricted his beach combing and foraging activities.

Brad specialise in portraiture and figurative representation, he has always been fascinated and inspired by an artist’s ability to capture the human condition. He finds himself deeply attracted to the Expressionist characteristics of strong, even lurid, colours, abstraction/distortion, alienation and social exclusion, exploring human emotions, instincts, identity, character and narrative. Each painting is a challenge bringing a journey of anxiety, mistakes, hesitations and frustrations and involves his instinctive physical/emotional/imaginative style. Brad favours strong brush strokes and often incorporate the unpredictable nature of chaos, including gestural splashes and dripping and nonrepresentational colours that come together in form and composition.

As a dyslexic artist self-portraiture provides for him a private diary and public autobiography. He finds that painting and drawing is a language for him that is not easily written or verbally expressed; it is a way of communicating and interpreting. He identified with contemporary artist, Antony Micallef, (UK, 1975), who stated ‘I am terribly dyslexic, so painting and drawing became a way of expressing myself’.
Brad prefers the medium of oil paint, however he often works with acrylic, watercolour, pen, charcoal, ink and pencil. He has been fortunate to be able to show many of his paintings and have achieved sales in Europe and the USA. Brad aspires to be able to present his paintings to as wide an audience as possible. He is satisfied with a completed painting if he feels that is has challenged him and evokes intended and unintended interpretations and provoke reactions.

There is always a relationship between an artist and his or her subject. In the case of the portrait/figurative painter, Brad believes, the ability and technique to apply the tactile medium of oil paint and create form coexists alongside a unique ability to explore and evoke a reaction through representation of intimacy, expression, individuality, emotion and identity.

The integrity of representation can sometimes be interrupted by the relationship and requirements of the sitter. So far in his career, to explore authenticity of the individual, he has at times, indulged in a consideration of his contemporary self/identity through self-portraiture.
In these paintings he portrays himself as an intensely single minded subject focused on unease and contemplation; this is intended to represent a societal angst, particularly among his own mid 20s age group, of life, love, health, political uncertainty and for the individual, isolation and loneliness. He relies on his own subjective sense of society and personal relationships and his own range of health and emotional experiences to promote authenticity of representation in my paintings.