After many years in accountancy I know do what I always wanted to do Paint. I paint what I love most the sea, countryside and flora.
Julie Gayle Balliu trained as a Graphic Designer at Croydon School of Art & Design in the late 80's/early 90s, and followed a career as a freelance graphic artist in London before moving into marketing and advertising. After time in France, Cornwall and Albania Julie moved to the Kent coast in 2003, working in project coordination and now resides on the Isle of Wight working as a self employed artist.
She loves exploring urban areas and the countryside, and recording memories of wandering through towns and villages, gazing at street life and the tranquillity of nature and also painting thoughts and memories of her childhood. These activities provide a creative and critical dimension to her work using a range of media from painting, sketching and printmaking.

juliegayleballiu.co.uk | @juliegayle.balliu
My artistic practice is driven by the physical act of drawing and the deep, meditative process of recording the world around me. Through drawing, I forge a connection—physical, spiritual, and emotional—with my subjects, allowing me to explore their intricate details and essence. My work weaves together a variety of methods, including walking, collecting, photographing, tracing, drawing, printing, and sculpting directly from nature.
Much of my drawings are repetitive and labour-intensive, echoing meditative practices that mirror the natural cycles of life and reflect upon our own human experiences. In reflecting on the rhythms of nature, my goal is to highlight the often-overlooked beauty and complexity of the natural world, encouraging viewers to engage with and appreciate the outdoors. My particular fascination with trees—honouring their life-giving qualities—serves as a focus within my work, celebrating their significance as symbols of vitality and endurance.
As an artist, my role is to bring the beauty of the natural world to the forefront, asking viewers to look at it more intently, with a renewed sense of appreciation and understanding.
alicehealyart.co.uk
| @alicehealyart_
Will Frampton is a composer of acoustic and electronic and works as a practitioner in education and community settings. Will’s work has been performed by and commissioned for ensembles such as BBC National Orchestra of Wales, the Orchestra of Opera North, Psappha Ensemble, Berkeley Ensemble, Quatuor Danel, Ligeti Quartet, Orion Orchestra, and Allegri Quartet. His work as a facilitator has included projects for the Birmingham Contemporary Music Group with Sound and Music, Manchester Museum of Science and Industry, and the Foundling Museum.
willframpton.co.uk/
I use daily walking as the starting point for my work. I aim for a sustainable practice through the use of salvaged materials, many of which are found littering the countryside - the detritus of agri-business, transport, recreation and family life. I make sculptural assemblages that respond to human interventions in the landscape, employing low-tech methods of construction such as knotting and binding, referencing the ‘making do’ solutions that evolve with circumstances and are associated with ‘fixing things’ in both domestic and agricultural contexts. As well as addressing concerns around pollution and biodiversity loss, the works explore assemblage as a post-human hybrid concept. A coming together of objects with their own agency to create new beings, with the accidental playing a hugely important role.
linktr.ee/LizCliffordArt
My artistic journey is a relatively recent one which has seen me try my hand at numerous art and craft mediums most recently turning to the captivating worlds of acrylics, watercolours, and in particular linocut printmaking. This has allowed me to explore themes that have profoundly shaped my life, particularly those revolving around service, remembrance, and the everyday human experience amidst extraordinary circumstances. My work is deeply inspired by the legacies of the war artists and the straightforward narratives of the Northern School of painters, reflecting my own background in a northern working-class town.
The two pieces submitted here, "Homeward Bound" and "NAAFI Break," are a heartfelt dedication to my family's extensive history of service, which spans from the trenches of the First World War into the Second World War and on to recent conflicts in Afghanistan, Bosnia, and Iraq. "Homeward Bound" captures the profound, often solitary, journey of transitioning from the intensity of the war zone back to the quiet familiarity of home. It speaks to the emotional weight of leaving comrades behind and reintegrating into family life. In contrast, "NAAFI Break" highlights the poignant normalcy that persists even in the most extraordinary and dangerous environments. It focuses on the simple, universal act of sharing a cup of tea, a small moment of respite that anchors individuals amidst chaos.
Through these works, I aim to honour the sacrifices made and the resilience shown by those who served, both within my family and beyond. By bringing these experiences to light, I hope to offer viewers a moment of reflection on the personal impact of conflict and the enduring human spirit.
folksy.com/shops/dapperchapartsandcrafts | @dapperchapart
A line, in all its many manifestations, is always drawn. Between A and B it can be plotted, it can be walked, a figurative boundary, an identified edge, a stitch, a decision and an expression. Drawing can be the process of making, creating or identifying a line. When we draw we make a mark, this can be a permanent reminder of our presence on a surface, or an ephemeral understanding that can exist for the briefest of moments behind our eyelids. But a drawing always proffers the unexpected.
Elizabeth’s interdisciplinary practice is primarily about drawing in the expanded field today. Exploring drawing as a noun and as a verb her work seeks to engender the same joy she experiences when making it, for the viewer and participants alike.

elizabeth-hammond.com |
@elizabethhammondart
Hester Poole practice celebrates the everyday. It is centred around a fascination with narratives and histories, which can be remembered or imagined. She aims to understand how materials can evoke recollection and provide the opportunity to share memories. By combining materials together in unusual ways, she works intuitively to combine colours, shapes and textures. Often employing rudimentary methods such as binding, nailing, knotting and stitching, the mixed-media constructions combine found, collected and recycled materials.
Collaborative working is a central aspect of her practice whether this is with her immediate family, peers or colleagues. Sustainability and a sense of social responsibility result in a conscious use and re-use of materials that have been found or collected. Using analogue methods requires improvisation to solve practical problems as well as imposing an invigorating element of restriction as there are finite amounts of the materials available for use.

@hesterpoole.art
An associate of CAS. My work is primarily centred around Painting and Drawing. I teach adult classes in Andover College and PSC AHED. Am working towards an exhibition at the chapel in September of this year. Keeping my work relatively under wraps until that time. This small painting will feature in that show. There will be a range of other paintings and possibly some drawings. I am also working in collaboration with Kevin Lynch https://www.kevinlynchmusic.com/ to produce a short animation to accompany one of his compositions. The aim is for this to feature in the show also. Many of the paintings are a response to themes within a musical Mary Ball that I have been working on for the last 5 or so years in collaboration with a long time friend Ben Fellows https://www.maryball.co.uk/ . There are links on the website to the tracks on YouTube which also contain videos created by myself. Some of the videos contain some animated elements. This musical was born out of the loss of my daughter which affects every part of my life
richardbarnfather.com
British textile artist Coral Fowley intricately explores the fusion of form, structure, and colour in her work. Informed by extensive research, Fowley's practice delves deep into the symbiotic relationship between nature and human experience, manifesting in works inspired by the phenomenon of structural colour.
Employing a blend of digital print, hand embroidery, and mixed media embellishment, Fowley crafts innovative textile art which have been internationally exhibited.
Her tactile exploration invites viewers to immerse themselves in the sensory experience and forge a profound connection with each piece.
Driven by a commitment to sustainability, Fowley integrates found and recycled materials into her creations, advocating for environmental consciousness while challenging perceptions of beauty and utility within repetitive structures.
coralfowley.com
I was born and grew up in Eastern Poland, where I studied sculpture and completed Art Education in Visual Arts at Rzeszow University with Masters degree. My interest in painting came when I moved across the sea to England. Painting became a powerful tool to release my inner voice and communicate with the outside world. My main focus is to concentrate around a concept of longing and belonging, as a women, mother and artist, I deeply stepped into this theme. Giving myself a transparent sense of the process, security and clarity- who I am and where I come from.
@martalichocinskaart
Art is my therapy and guides me in the journey of life, recording/documenting/processing to remember with love.

Brocksartsandprinting@email.com | @BROCKS_ARTS_AND_PRINTING
Yonat Nitzan-Green is an artist researcher and a mother. Currently she is taking a 2nd Fine Art practice-led PhD, entitled: ‘The entanglement of maternal subjectivity and pregnancy in its intersection with immigrant mothering’ at Loughborough University, supervised by Professor Hilary Robinson and Dr Deborah Harty. The research main vehicle is drawing. She uses an experiential approach to destabilise representational imagery, promoting visual thinking founded on movement and embodied knowledge. The drawings are informed by the maternal body and subjectivity, theoretically supported by artist and psychoanalyst Brachah L. Ettinger's 'matrixial' theory.
Artist Statement – Free Spirit & Discovery
These two pieces represent different chapters of the same journey—one inward, one outward.
Free Spirit is a raw, sensual celebration of reclaiming the body after trauma. It speaks of shame shed and strength rediscovered, honouring the fierce, tender act of learning to feel at home in one’s own skin. It captures movement and stillness, vulnerability and power—an unapologetic return to self.
Discovery, by contrast, captures a quieter moment of awakening. The figure, simple and abstract, is immersed in a book—open, curious, alive to possibility. It reflects my belief in the healing power of curiosity, creativity, and the stories we let shape us.
Together, these sculptures explore what it means to be human: to unlearn shame, to rediscover joy, to embody truth. As a neurodivergent artist with lived experience of mental health struggles and survival, my work is often about giving form to what’s hard to say—creating space for conversation, connection, and permission to feel.
Each piece invites the viewer to reflect:
What are you ready to let go of?
What are you willing to discover?
I’m an artist and poet based in Chichester, UK.
From a background of painting trees and undergrowth, mark making became more important, and as a result I felt able to use colour more freely.
Moving into abstraction, I felt the need for some parameters, so in my most recent work I have chosen to paint on a set size and square format. The works are in oils with a small element of mixed media (pencil or charcoal) in some. My process is to cover the canvas with a layer of mark making, followed by a second layer in a different register, and so on. Each layer redefines the composition; all sorts of visual connections arise.
Variety in colour, intensity and tone are all desirable. I vary the speed of painting and the tools I use. Gradually the decision making gets harder. In the later stages marks can be overpainted, connected or severed.
I choose to stop when the works ‘sing’ – when I sense that there is a harmony between the visual elements which is still open to interpretation. It’s at this point where the painting repays a long look.
There are certainly similarities between painting and creative writing for me.
linktr.ee/elsiegreenart | elsiegreenart@gmail.com
In all my work I am inspired by Catholic imagery and iconography, and this ties in heavily with the idea of remembrance. We pray to images of the Virgin to remember and honour those who have passed. Her image is revered in churches, chapels, and shrines, we remember her and in turn hope that she will remember us. I wanted to encapsulate that feeling in my piece, to continue to honour her as many women have done for centuries.
@angell.celestee
Our pasts are distorted, misunderstood, messy radio waves, radiation interference. What did we believe, what was it all like back home, the ground? Plants, animals, landscapes, all mixed up in our memories, our history all muddled, a mess to learn from to rebuild as we float. No longer grounded we must pick ourselves up, and that’s where we’ll start, one misunderstanding at a time. Reworked, edited to make sense for ourselves and those to come after, we will remember again with glimpses flashing through our screens, the scanned, copied, recorded reverberating through our media systems.
jameschoucino.com | @jameschoucino
My work explores the residue of grief and the tension between holding on and letting go. Using oil paint and oil bars, I work instinctively, layering and scraping back surfaces to reveal traces of gesture and emotion. Figures often emerge partially, haunted, dissolving, or clinging, caught between care and collapse. Animals appear throughout my paintings not as literal forms, but as symbols of devotion, sacrifice, beauty, and longing. They carry memory and emotion, standing in for what is lost, what endures, and what can never fully be held.
carolineperkinsart.com | @caroline_perkins_art
At nine, while playing with a paper plane, a stone thrown by another boy struck my left eye, leaving me in agonising pain and making me the family's “cursed child”.

Isolated from school, I sought solace with my paralysed grandfather, spending countless hours listening to his retellings of Indian scriptures, Panchatantra, mythologies, and his life experiences. Even after his passing, his stories and poems continued to inspire me, shaping my pursuits in reading, painting, sculpture, poetry, and filmmaking all infused with magical realism.
Hailing from Vadnagar, a small town near Gujarat's northern desert, my journey began amidst the town’s vibrant cultural and archaeological heritage. The yellow glowing soil and rich history of Vadnagar deeply influenced me. Holding a Bachelor's degree in Architecture, I found profound inspiration in the region's history particularly in observing excavation processes over the years and studying deteriorated artefacts. These artefacts, with their unique geometries, harbour countless folktales.
Amid Vadnagar's vibrant setting, I draw inspiration from the town's rich cultural essence and its exquisite bronze artefacts to shape my creations. During my Master’s in Fine Art at Sheffield Hallam University, UK, I refined my artistic vision, finding a unique voice in storytelling through sculptures.
talosartgallery.co.uk/ravi-modi | @ravianartist
From service to lens: 26-year army veteran capturing moments.
@ftd_photo_graphy
My practice is increasingly concerned with unmaking—not as an act of destruction, but as a methodology that resists the dominant narratives of capitalism, which equate progress with accumulation, productivity, and overconsumption. Unmaking is a concept investigated by a group of environmental scientists based at Utrecht University (Netherland), led by Giuseppe Feola. For Feola it is about rethinking ‘alternative ways of living, working and interacting with our environment that do not fit with how our current capitalist society’ (2019).
Drawing from my PhD research in Creative Pedagogies and a turn toward performance-based work, I find myself returning to making with my hands—not just thinking with my head, to investigate more-than-human entanglements. I am craving a tactile engagement with materials—a return to land, territories, trace, and animal matter that inspired my previous installation works*, but in a new environment that unsettles my assumptions and transforms this experience acknew. However, I often feel that the world already contains enough things. This has prompted a shift in my artistic focus: away from the art-object and towards art as process, performance, and social connectedness—a mode of inquiry into self, society, and the entangled nature of all things.
My work is informed by post-humanist thought, particularly the writings of Deleuze and Guattari, A Thousand Plateau (2019), and their concept of ‘becoming animal’, and more recently Elizabeth Grosz in Becoming Undone (2011), where she invites to consider life as a fluid assemblage of organic and inorganic matter, always becoming, in constant flux.
I explore unmaking as a generative act: a practice of making and re-making that offers space to question how we exist and relate in the world. I want to trace the folds of materials and moments, to revisit each step and reimagine what might emerge if we allow ourselves to come undone—together. This is a search for connection through becoming other; for new ecologies of assembling and relating.
laurencerushbyart.co.uk
Xin’s practice often covers multiple approaches including printmaking, photography, and writing. Seeing images as objects and surfaces of objects, she explores the materiality of image-making in combination with contemporary printing techniques, highlighting its material delicacy and bodily sensation.
xinyuezhangs.com | @x.xin.y
I am a visual artist. My practice includes drawing, installation, photography, digital and audio-visual work, printmaking and painting. My work reflects on life’s vulnerabilities and absurdities. Often it leans into questions of memory, identity and origin, using human geography, industrial and natural environments as source material.
A long career in graphic design has given me an ordered aesthetic that informs my working methods.
I make discoveries through walking, cycling and loitering. I observe the obvious and what’s happening around the edges. I document through photography, written notes and visceral memory (the feeling of a place and time is critical).
Monotony and repetition are recurring elements, bringing a sense of ritual to performative and graphic works, one-offs and series. I fixate on formal geometries and motifs, with examples appearing in landwork, sculpture and digital drawing.
richardgregory.art | @richardgregory
My work is deeply inspired by architecture, nature, religion, and philosophy—especially the concept of animism found in many Asian traditions. The belief that all things possess a spirit, as seen in Shintoism’s reverence for nature, informs my creative vision.
xueshengma.com
Recognised as one of the top ten artists to watch in Nigeria in 2022, Olamide Olamide Jasanya is a dynamic and evocative visual artist whose journey spans continents, cultures, and compelling themes of identity, migration, and human connection.
Born and raised in Nigeria, his artistic voice was shaped by the vibrant pulse of one of Africa's most expressive cities, Lagos, which continues to serve as a wellspring of inspiration for him, reflecting in the boldness of his colours and the deeply human stories he presents on his canvas.
He is best known for working with acrylic on canvas with works that gravitate towards the human form. His believe is that the body itself is a powerful vessel of art and storytelling, hence his exploration of anatomy is not just about the aesthetic; it’s a statement on identity, resilience, and shared humanity.
Upon relocating to the UK, he has since taken his artistic practice international and his work has taken on new dimensions—engaging with migration and the nuances of human interaction, positioning of Africa and other subtleties in a global context. This evolution is powerfully reflected in standout pieces such as Super Power and Best of Both Worlds, both of which have been exhibited at Boomer Gallery (UK) and the Africa Week exhibition in Finland. Another notable work, Tale of Two, which poignantly narrates the journey of two migrants, has been featured at the MOBO Fringe stage and the Power to Thrive event in the UK.
Beyond the studio and gallery, Olamide is committed to the transformative power of art in community. He has coached and mentored at various art events in both Nigeria and the UK, using his talents to inspire the next generation. In 2024, he collaborated with Z-Arts in Manchester, UK guiding children in creative expression through painting. That same year, he received approval from the Lagos State government to lead a program teaching underprivileged youth the rudiments of painting—an initiative that reflects their deep belief in art as a tool for social impact.
With a growing international presence and a heart rooted in purpose, Olamide is not just an artist to watch—he is an artist to celebrate.
As an interdisciplinary artist, my work investigates the poetics of the everyday through the lens of affect, exploring the subtle, often overlooked emotional currents that shape our daily lives. Using photography as a primary medium alongside video, text, and installation. I capture fleeting moments, mundane spaces, and intimate gestures to reveal the depth and resonance embedded in the ordinary. My practice is rooted in an attunement to atmosphere, memory, and sensation. I am drawn to the ways in which light, texture, and composition can evoke complex emotional states, creating images that hover between presence and absence, familiarity and estrangement. Photography, for me, is less about documentation and more about perception: how emotions surface through objects, how time lingers in the material world, and how images can act as conduits for feeling.
I am a PhD Candidate in Fine Art photography at the University for the Creative Arts. My current research centres on the weird in order to develop new photographic methods to represent the lost futures of Portsmouth, England. My work has been exhibited widely, including the Mall Galleries in London, the Herbert Read Gallery in Canterbury and the Glasgow Gallery of Photography. Dodd previously graduated with an MA in Photography at the University of Portsmouth, and a BSc in Web Science at the University of Southampton.
ryandodd.co.uk | @ryandoddartist
Wanting Wang is a London-based visual artist and photographer whose work examines how ecological, gendered, and perceptual systems shape and distort the ways we see and are seen. Holding a Master’s degree in Television from the University of the Arts London, her cinematic background informs her distinctive visual storytelling.
Her research-driven practice draws on philosophy and cultural theory to explore the shifting boundaries between the organic and the constructed. Working across photography, installation, and the poetics of perception, she focuses on thresholds—between life and decay, clarity and blur, order and collapse. Through visual and spatial experimentation, she investigates how bodies, objects, and environments are shaped by both natural and constructed systems. Often working at the edge of the seen and unseen, she uses light, shadow, and composition to disrupt familiar narratives and transform fleeting moments into compelling visual inquiries.
Wanting’s recent exhibitions include EL ORDEN DEL CAOS Exposición colectiva (Spain, April 2025), PARTLY CLOUDY (London, April 2025), INTERGRADE (London, April 2025), and LIQUID SKY | III Edizione (Italy, May 2025). Her work embraces contradiction—finding beauty in decay, structure in fragments, and resistance in silence—opening poetic spaces to rethink visibility, embodiment, and belonging within ecological and social systems.
wantingwang.cargo.site | @witwit_wang
Hi! My name is Olivia and I'm a digital artist who specialises in concept art and background painting for video games and animation. My work is usually in pre-production or the background so I wanted to give my art a moment to itself in this wonderful exhibition! If you like my art, I'd really love for you to check out my social media. Thanks so much!
oliviakgregory.wixsite.com/artwork | @art.by.olivia.kate
I am a British-born Chinese artist interested in exploring cultural dysphoria and the reconstruction of oneself against the cult of so-called cultural authenticity. My works often utilise the transient nature of memory to express the nuanced notions of 'identity' and 'worth'.
I am interested in the tension between the individual and stereotypical, thus culminating in a playful, mixed media practice. Through re-interpretation of found objects based on their personal value and assigned usage, I want to invoke and highlight an alternative reading of the archetypal narrative.
lishazhong.com | @lisha_zhong_
Hannah Cantellow is a Wiltshire based artist and trained printmaker, she has specialised in both Fine Art and Multi-Disciplinary Printmaking and later completed her MA in Social Sculpture & Connective Practice at Oxford Brookes University in 2018. It was during this time that she explored other ways of being in and with the natural world, which enabled her to deepen her artistic sense of self and pursue her impulse for storytelling.
Observing, making and learning with nature through being immersed in its many wondrous forms has been a fascination for Hannah since she can remember. The collected landscape objects provide a vital resource as her cabinet of curiosities in her printmaking studio in Devizes. Hannah specialises in creating original limited edition prints, using processes such as woodcuts, wood engravings, linocuts and collagraph printmaking.
Teaching from her print studio, Hannah prints using her Hawthorn etching press and Albion relief press, as well as using hand burnishing techniques. Walking informs much of her practice and she draws upon these connected experiences to create images that tell their own unique story, which she calls ‘token of place’. Inspired by Wiltshire's rolling hills, stone circles and the iconic clumps of trees, wherever she walks, the landscape brings continuous inspiration through its patterns of enchantment and magical charm.
hannahcantellowstudio.co.uk | @hannah_cantellow_printmaker
Shujing Shen is a mixed-media artist, passionate about weaving narratives through visual, interactive, and immersive media. Her artwork spans digital painting and extended reality (XR) experiences.
Shujing completed her Master's Degree in Virtual Reality from the London College of Communication (2022–2023) and Graduate Diploma in Art and Design from the Royal College of Art (2021–2022). She has participated in exhibitions and events such as the London Cinema Museum and Digital Catapult. Her artwork was officially selected at the Social Film Festival – Vision VR (2024) and awarded as a winner at the Indie Cine Tube Awards. She has also been invited as an external reviewer for Art and Extended Reality at SIGGRAPH 2025
shujingshen.com/restingchair | @shenshujing
I am an artist from North East England based in South East London. I mostly draw, paint and animate. I am inspired by emotions, colour, shape, nature, human form, body language, movement and music. I enjoy making art as a means of untangling thoughts and feelings and coming back to softness, as subconscious exploration and to express joy.
mimteasle.co.uk | @mimteasleart
Marian Obando is an artist working between animation, music and dance. After completing her MA in Character Animation at Central St Martins, Marian began pursuing an experimental approach to animating fine art materials. She has created animated films using watercolour, charcoal, oil pastels, acrylic paint, scratch on film, origami paper, pixilation, video, found objects, found footage, and other mixed media. Marian’s films have been screened and exhibited at festivals, galleries, exhibitions and art fairs such as the Animateka Festival, Animafest Zagreb, Animation Block Party, San Jose Short Film Festival, Holland Animation Film Festival, Drawing is Dead Exhibition, Working Hours Zine Exhibition, the Irregulars Art Fair, and Willesden Gallery.
marianobando.com | @oohh.welllll
As a visual artist and photographer, I explore the emotional layers of memory, loss, and connection — often using personal narratives, nature, and found objects as anchors. My practice is rooted in honesty and quiet observation. I work with still photography, video, and mixed media to express what cannot be spoken, using fragments from real life: gestures, light, spaces we inhabit, and the remains of what once was.
Much of my work reflects on the relationship between presence and absence — the people who shaped us, and the spaces and rituals that continue to hold them. Through subtle visual language, I seek to preserve memory, not as nostalgia, but as a living thread that ties the past to the present moment.
I currently live and work in Eastbourne, East Sussex, where the rhythm of the sea and the cycles of nature shape my way of seeing and feeling the world.
poplavska.com | @poplavskaya_photo_art
OPEN OPEN 2025:
Wish You Were Here
3 - 26 July 2025
Open Thursday to Saturday from 11am - 4pm
FREE!
This summer,
Open Open 2025: Wish You Were Here presents 46 works carefully selected from over 100 submissions by 60 artists. Together, these pieces explore the many ways we hold memory—tender, fragmented, joyful, and unresolved. They ask what it means to remember, and what it means to long for someone, something, or somewhere no longer close.
