Susanne is a Guildford based artist and has been painting for the past 30 years.

This collection of work is based on the properties of colour, the effects generated by movement that then creates the mood and energy.

The goal is to evoke emotions felt when we experience nature. The ever-changing land and seascapes constantly evolve with light and reflection as its inspiration.

The development of each painting rests in the learning process using brush and
palette-knife, she uses a vibrant palette balanced with mellow softness. Sketches and colour studies made on location, lead to strong spontaneous work in the studio.

As Morandi said ‘there is nothing more abstract than the visual world’.

Stephen’s images capture the energy of journeys and cities. He is attracted by light, reflections and the movement and energy of the crowd. The defining characteristic of his paintings is an enjoyment of colour.
The crowd may be large or small – sometimes the focus is on a couple or an isolated figure – but always they prompt the viewer to wonder who they might be, and what are their various destinations. There is a sense of paths momentarily crossing before the groups disperse forever.

Songul is fascinated by the power of light that shapes the landscape and also by the effects of time and weather on the earths' surface - the forces of light, colour and atmosphere are the elements of Nature that most inspire her. When people view her paintings, the hope is to make them feel that they have not only been to these places but have also shared her experience and memories of that day.

Beauty is a material way of expressing her joy and art is its language. She uses he rknowledge of this language to portray all natural and man-made beauty. Her colourful palette and simple brushstrokes, in both watercolour and oils, are the result of the academic art training she received in Turkey and many years of painting in London. She earned a Bachelor of Arts degree in 1989 at Gazi University, Turkey.

Songul loves being on her own when she paints and listens to music, often this could be a classical piece, maybe a hard rock piece or something nostalgic from her Turkish origins. She finds the movement, rhythm and emotion both motivating and mood enhancing.

Songul gets inspiration from her travels. She likes to capture strong light or reflection of the season and then paint. She does not make strategic plans but uses small sketches to define a composition and then see what happens.

Her husband, Nicolas Meier is a professional musician. They both work at home and find this arrangement mutually inspirational. Songul teaches art and runs painting holidays in Europe.

Shawn focuses mainly on drawing, but sometimes paints with oils, acrylic or watercolour, but the bulk of his practice is focused on original drawings. These are then photographed and manipulated, some of these digitally, to make new work, with the final giclée print process creating fine art prints.
His 'Universally speaking' series comprises ten original A3 graphite drawings on paper, and a collection of A3 and A2 prints.
All the work comes directly from his original hand drawn pieces
Themes/Style:
The themes in Shawn’s work are broad in scope, drawing inspiration from symbology, ancient history, mythology, religion and science.
His style blends architectural lines and geometries, with natural shapes and forms, creating intricate works of fine art.
Shawn Randall –
‘For me, symbols are a language, they transcend cultural barriers and allow me to communicate with a global audience. I like to think I produce aesthetically pleasing work, but there is always an undertone: a spikiness, a shadow or some awkward, organic form. Nothing is ever truly perfect, and I play with this tension’.

Shawn’s fine prints are handled by Otters Pool Studio www.otterspoolstudio.co.uk

Vicki ‘s preoccupation with still life painting has enabled her to pursue an interest in colour, drawing and a fascination with the relationship of objects. Many of her paintings include ceramic by contemporary studio potters from her own collection. In recent year Vicki has also been creating and exhibiting her own figurative ceramic pieces.

Giles studied Fine Art at Farnham. It was there that he first became interested in photography and photo screen printing as a medium for expressing his interest in abstraction. He also took a degree in art history specialising in modern and Renaissance art.

He considers himself as both an educator and an artist and has exhibited widely in London and the south of England. At The Lightbox Gallery in Woking in 2015 he was awarded the main prize for the Surrey Open Photography competition.

In his images, Giles favours found objects, plants, landscape and architecture where he searches out abstract fragments of light, colour and textile. Sometimes he uses collage as extensions of this process. ‘I feel the act of looking is so important in this age of continuous streaming of images and it creates a moment in time to explore and isolate the smallest of details. I am much influenced by the work of Ernst Haas and Saul Leiter, particularly in their use of colour’.

David re-discovered printmaking at Ochre Print Studio in Guildford after many years away from artistic activities . David has found printmaking to be a natural home: inspired by the processes, the materials and the camaraderie it imbues. He enjoys exploring the mark making of printing and the effects and worlds one can create from these. The unexpected results the process can sometimes present enhance the challenge and opportunities for creativity. Excited to keep learning, he wants to weave together different forms of printmaking to explore their contrasts and cohesiveness.

Although his work has an illustrative basis, rather than focusing on narrative it explores the relationship between character, emotion and space. He likes to invite the viewer to question what they are seeing whilst recognising objects, actions or their suggestion.

His inspiration comes from a wide variety of sources: mythology, legends, literature, photojournalism and artificial intelligence. Film theory and in particular the practices and conventions of early silent film are key interests. Many of the exponents of early film looked to paintings to inspire their work and so it seems natural to use their films and their artistic thinking to inspire his prints.

Tamara Williams is a contemporary British printmaker, painter and designer, working with mixed media and plaster to create semi abstract, textured painting and prints. Her design background influences all her work, from a focus on texture and mark-making to her love of letterpress and mono printing.

The landscape around her studio near The Thames is an especially strong influence. The river bank and surrounding fields, filled with their tangle of wild flowers and graphic shapes, are deconstructed into abstract layers of texture.

Further afield, the Cornwall and Norfolk coastlines are also represented in her recent work.

Tamara works from her studio in Surrey, selling her work through galleries, events and open studios.

Sinclair is influenced by the forms and colours of early Twentieth Century Flemish and German Expressionists. Most of his work features people and animals in landscapes with which he has become attached, some arise out of his religious beliefs and his interest in animals began when living in East Africa as a child, and sought to catch the essence of the animals he saw every day, rather than represent them realistically. Others arise out of every day encounters in his mother’s home landscape of West Flanders and the other half of his heritage, eastern Highlands. He has also come to know North Yorkshire through his son.

Sinclair’s emotional imagery is stocked by all these places and having grown up with intense tropical light slamming down colours as well as evanescent tones he is always conscious of the way he can play with colour in his pictures, grading or contrasting them as the occasion demands. These days he has begun to play with the way the colours can be varied by the texture of the brushstrokes with which they are set down, for example, using a large area of flat colour but give it life through texture.

If you tell people you paint, one of those difficult questions you get asked is “what sort of thing do you paint? Is it abstract? Portraits? Landscapes? “ The answer is all of the above. He paints people, animals and landscapes he has seen and which for some reason or the other struck him as being memorable, the image cutting itself out of the continuum of visual impressions. All art is a matter of abstraction. The story line in a novel does not contain all the crossing threads of real life. The subject matter of a picture depends on what has moved him. Not in some deep emotional way, but what has struck him as being visually significant. Sinclair never carries around a sketchbook but tries to memorise an event or a landscape and then set it down later. All his pictures start with something he has seen and wishes to memorialise. So you could say that he is doing that thing of recollecting emotion in tranquillity.

Sinclair uses commercially prepared canvases, which do not come in the same formats as the drawings, so when he decides to make a painting out of one of the sketches they get transformed again by the new boundaries of their setting. It sounds corny but there is a dialogue in his head as he asks the image how it wants to be and this can change the emphasis.