David Ringrow is a keen artist who works in Accountancy and paints in his spare time. At University David won a place each year for private tuition with the Resident Artist.

David has continued his art as a hobby and shows and sells his work in London at places such as Blackheath and The Mall Galleries concentrating on rich colours and geometric shapes.

Daphne Jefferis is an Art History Lecturer who has enjoyed painting and drawing all her life. She has attended many painting courses and workshops and particularly learnt watercolour techniques with Christopher Baker in Sussex.

Daphne is now semi-retired and has more time to paint. Landscape has always been an inspiration, but still life work offers the opportunity to observe how objects appear in space and the patterns they make. By limiting the colours used the arrangements become simplified and clear.

Daphne has exhibited at Guildford Cathedral, Open Studios, AppArt, KD Prints and Guildford Arts.

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.

Stephen has always found great comfort in the landscape. He is constantly drawn to reflect a sense of connection with landscape in the form of paintings both small pieces in location and large studio pieces. He is forever intrigued by the ever-changing weather and seasons, which so dramatically change a locality. Stephen’s work intends to be a reaction or conjure a deep response to the essence of a place. Some of his work is instinctive drawing in location while other work derives from a memory or instinctive reaction to a place visited. One could say it is the energy and spirit of a place or landscape, which is filtered directly into his work. The way the light falls across the landscape and creates a particular mood is often an inspiration where fast compositional studies drawn in situ start the process of understanding the particular place or moment in time. Some of these places and landscapes he re-visits time and again and it is through his exploration and adventure that he has developed a deeper understanding of the place. Most of Stephen’s paintings tend to be from the Surrey Hills and the south coast.

Joslyn’s work focuses on vivid colour and sculptural shapes, which she loves disrupting with the introduction of chaotic gestures, throwing acrylic paint and vigorously spinning or tilting the canvases. Inspiration for the titles often comes from overheard conversations, current events and silly happenings.

As a New Zealander, who emigrated to the UK, it is part of her culture to use “kiwi ingenuity”, thus she has made a variety of rubbish spin painting machines out of all kinds of materials with varying degrees of success, and has had a great time making a huge mess, both indoors and out.
The journey is more exciting than the destination.

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.

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