Louise Jannetta (Print)

Louise Jannetta

Louise's jewel like collagraphs with exquisite detail catches the light and reveals more delicacy to the viewer. She concentrates on the patterns and textures and the ability to play with light, both within and across it the collagraphs.

From her work you can see that Louise is a skilled and versatile artist who relishes the discovery of a new technique or idea.

Her work expresses an explorative attitude, artistic curiosity and diversity.

Louise has a Studio with exhibition space in Buxton. She welcomes visitors but she requires an arranged appointment so that she can tidy up a bit first. Please feel free to contact Louise to arrange an appointment.

Louise Jannetta | Printmaker | Derbyshire

Vicki Johnson (Pop, print & stitch)

Vicki Johnson is a freelance artist, screen printer and surface pattern designer. Alongside developing her own practice as a visual artist Vicki has worked on a range of arts projects, residences and events and is member of Mesh Collective and Stew Studios. Vicki is currently working on a new series of screen prints for exhibition throughout September. 

Vicki studied textile design at Nottingham Trent, graduating in 2008. After graduation Vicki took a studio space at Stew Studios where she later set up Stew Print Rooms with Jo Stafford, an open access screen printing facility for paper and textiles. Alongside this Vicki began freelancing for Acorn conceptual textiles and selling her printed textile designs at trade fairs from 2008 onwards. Though having access to a range of screen printing equipment Vicki began experimenting using her textile design experience to create limited edition screen prints on paper. She began exhibiting her first paper based work as part of Mesh collective, a group of like minded screen printers who met though stew print rooms and went on to exhibit as part of Norwich Print Fair.
Vicki's current practice often explores connections with nature and man made environments working from photographs and drawings of pattern and texture in her surroundings. Similarities can be seen between her screen prints and her textile designs through her use of repeating elements and graphic silhouettes. Vicki uses a range of processes to create her layered images including collage, hand drawing, screen printing processes and CAD.
Vicki's current work is also influenced by her love of music, for her latest collaboration with folk duo Captive's on the Carousel Vicki will be designing the art work for their latest release and creating a series of screen prints to be exhibited as part of the album launch in the summer, 2012.

David Jones (Image Conscious) 



The project Camels consists of photographs of 'camels' painted on walls in Tunisia along with found documentation of camel riding trips.


A project that works between collecting and photography, resulting in a tongue in cheek outlook on photography and the use of the medium.


David works between Photography & Sculpture very much concerned with collecting; retrieval and recontextualising resulting in the insignificant being brought to the forefront with humour and Irony.


David has won Welsh Artist of the year on numerous occasions and his work is touring in RPS International Print 156 which is organised by The Royal Photographic Society



David Jones | Photographer | Wales


Jill Kerr (Print)

Jill works from her studio in the Peak District where she looks out over Kinder Scout. Her immediate environment is the inspiration for many of her designs.

Jill's work focuses mainly on linocuts, which are printed by hand and the selection we have here are very organic, eye catching and playful.

Jill builds up the final image by using the reduction method where the lino block is cut away after each layer has been printed. Editions are limited to between 10 and 25 original prints.

Jill Kerr is a member of both Peak District Products and the High Peak Artists and Craft Workers Association and she exhibits regularly with them. 

Jill Kerr | Linocuts | Peak District 


Ian Kirkpatrick (Portfolio)


Ian Kirkpatrick is a Canadian contemporary artist and graphic designer currently based in York, with an international portfolio.

 Ian recently won a Canada Council for the Arts Project Grant to fund a new body of work based on the intersection between contemporary sculpture and packaging design and the results of this project grant is being shown as part of #Portfolio.

The playfulness and desirability of the cardboard sculptures shown here is immediate but equally important to these pieces of art is the blurring of borders between packaging design and contemporary sculpture. This highlights the similarities between graphic designers, product designers and artists.

On a more subtle note, the works even hint at the ever important issue of sustainable materials and economical and eco-friendly ways of creating products, let alone works of art. 


Caroline Kirton (The real Draw | Illustration exhibition)

 My work is a series of snapshots reflecting on the ups and downs of teenage and life.  Through observation and study of my teenage daughters and their friends, I have been commenting on the universal experiences of the teenager and how young people often feel they have little or no control over their lives.  I translate and record their stories and emotions into documentary style in stitched textile drawings picking up details that capture my attention.  My work always starts with a comment or observation, which strikes a poignant cord.  I am now widening my observations to include other people in todays society whose stories I find poignant.
My research into Lacanian theory and the work of Mary Kelly's Post Partum Document has influenced my practice.  In particular I am interested in Mary Kelly's ongoing process of analysis of the mother and child relationship as she explores the issues of letting go, and tries to rationalise her own thoughts and feelings of allowing her child to grow up and become a social being on his own.  It is her detailed recording process and sense of autobiography that I try to achieve in my own work.

Through my practice I aim to increase the awareness of the public about the use of contemporary textiles and how they can be used in a way that is not expected.  I like my work to have an illustrative quality drawing through stitch, I work to achieve this with the use of a black line. Through telling stories I like my work to engage with the audience, it strives to be a thoughtful and often humorous documentary of everyday life.

My work is stitched textile drawings that combine appliqué, screen-print, mixed media and free machine embroidery.  By using traditional methods I want to demonstrate to the viewer the importance of making and materials and how they have a significant place in contemporary art and illustration today.  I like to use vintage and recycled materials fabrics as it triggers personal memories and stories for the viewer.  

Eva Koliadi (Image Conscious) 

Eva Koliadi


"Let gravity drop and whisk me off my feet. Let the skies tumble and rumble till they envelope me in their thin atmosphere. They appear like a phantom of things past, always looking back"


Eva koliadi begun her artistic practise painting and drawing, photography was primarily used as an aid for documentation, not as an art form itself. This has slowly shifted and photography is now becoming more and more the focus of her practice.


Eva's work is never staged, manipulated or planned. It is instead the chance encounter with the world around her, the moments that she wanted to record and remember.


Eva Koliadi | Fine Art Photographer | Edinburgh



Marion Kuit ( The Real Draw | Illustration exhibition )


After a career in art education I gained an MA in Contemporary Arts Practice. I now pursue my own practice, focussing mainly on drawing and printmaking. Relief prints are made using a C19th Columbian press.


Kendal Snuff Factory Prints


After a visit organised by Kendal's Civic Society, I realised the endless potential presented by the wealth of ancient machinery and tobacco dust encrusted paraphernalia of Gawith's snuff mill. Although working since C19th, incredibly some of the machines still in use date back to the C18th.

Relief printing is an appropriate medium for the depiction of the intriguing combination of skilled workmanship and rough-and-readiness required by the snuff making process. Strong mark making and fine "drawing" by this hand cut relief printing technique help capture the mill's strong industrial atmosphere. German Expressionism is very much an influence, especially the wood cuts  of Otto Dix and Ernst Kirchner. The "Snuff Factory" prints are made in editions of twenty, on either Somerset or Japanese Shi-Oji papers.



Sabine Kussmal (Abstracted)


Sabine is intrigued by the universal nature of structures and patterns.

Some obviously visual, others with no direct visual representation, she is fascinated to discover them as networks of lines, if temporary or permanent.

The surface of the Earth, footprints of animal movement on snow, erosion of riverbeds, a geological cross section through sediment. All of those are inspiring manifestations of a more complex "weave" of life's features of which those generated from data are equally relevant, like the spectral analysis of the light of the atmosphere, graphs illustrating the population numbers of birds on a Scottish Island or the mortality of mothers in childbirth in developing countries. 

All such structures are affected by change - essentially change in a sequential time frame. This notion of change is fascinating to comprehend and distils itself into the art-making process and then into its process of "usage".

Textures and patterns as described above appear to Sabine like background contexts or "environments". She perceives them as the platforms on which events happen, or, in a more visual sense, shapes and constructions are becoming manifest. The design of shapes, some designed by nature, e.g. leaves, the body of an insect, a termite hive, a blood cell,  others constructed by man, bear an interesting relationship to its background context, like a building relating to the environment in which it is constructed or the design of an animal's body as a functional response to its living conditions

Architecture and clothing are two such constructions that are typical of man's intentional relationship to its environment and an expression of his/her self-understanding. With a background in Fashion & Design, Sabine is much interested in the design of garments and how they "house" our bodies and relate us to our environment and life-style.In a wider sense, architecture provides a similar relationship but is more permanent in its expressions. Sabine likes to use architecture in the context of an image in a metaphorical, poetical way to "house" or provide "shelter" for a feeling, a mood, a memory and to play with the notion of inside and outside.

In Sabine's thread and canvas artworks she uses drawings made from thread and stitched onto transparent fabric, which are then suspended over a canvas background. The activity of weaving and sewing is one of the most archaic processes of creating. Letting the drawing develop on its (canvas and painted) background "atmosphere" it appears like some small event occurring, delicate and with a temporary nature to it, as one of many possible ones. String and line as solitary elements are forming recognisable images, but are also playing with their own deconstruction.

Shapes and drawings cut from steel are permanent; some have even got sharp edges. This nature contrasts heavily with the fragility of a drawn image, binding them both together by this opposition and the shadows they cast onto the same background.



Brain Law ( Image Conscious)

Derelict Spain


Derelict Spain is a series of photographs taken in the Almeria area of Spain. Brian took frequent returning visits to photograph the changing way of life, including migration to the big cities, which has left many villages and dwellings abandoned. Brian is free to explore the area due to relaxed safety laws, which allows him to really delve into remnants of the lives left behind.


There is a recurring prospective used throughout the collection of photographs. Through broken windows and doors we see snippets of former lives, houses and discarded objects left behind in seek of a better quality of life. There is a sense of loss and sadness associated with these forgotten times.


Brian's influence from the Pictorialists is present in his sharp high contrast photographs. The colours and texture are striking, as is the subject matter.


Brian Law is a Macclesfield based photographer. Since taking early retirement in 2008, he has devoted his time to photography and is currently President of Macclesfield Camera Club. Brian works in a range of styles across a number of genres. He has a great admiration for the Pictorialist photographers of the late nineteenth century (a movement where it was fashionable to create a scene rather than record it), although much of his inspiration comes from artists such as Caspar David Friedrich, Vilhelm Hammershoi and de Chirico.


All the images were taken with a Nikon D300s using a variety of Nikon and Sigma lenses.


Brian Law | President of Macclesfield's photography club | Macclesfield



Stephanie Lawton (The Real Draw | Illustration exhibition) 


As an aspiring surface pattern designer, I have always been drawn to elaborate detail and intricate patterns, which are qualities that I have aspired to maintain throughout my practice. I combine both hand drawn and digitally drawn elements to create patterns, which have a very graphic and illustrative feel.


I am inspired by modern technology and the potential it has, in being incorporated into textiles and interior design. By using processes such as laser cutting and raster engraving, it has opened my eyes to a much more contemporary way of working, my aim being to contrast modern technology with tradition and culture, renewing and modernising classic and timeless patterns from other cultures into our modern world.


I have created decorative and bespoke designs, which can be applied to a range of different outputs, including ceramics and tiles, to soft furnishings and wall coverings, as both commercial products and commissioned assignments.



Petra Lee (Macarbe Macclesfield)


Petra Lea is a Congleton based artist who works in both figurative and abstract styles. Often working with oil paints and mixed media / collage


Her work is very diverse and she is interested in a range of subjects including Japanese art and pop culture, oddities and the unusual, as well as portraying landscapes both internal and external.


Her most recent work displays a high degree of experimentation using collage and paint, mixing found images with painterly mark making.



Michael Leigh (Portfolio)

Michael specialised in painting but his practice gradually moved towards to collage in the 1980's when he discovered the international mail art network.

Michael continues to create intricate collages, manipulating existing images to create new works that layer meaning and questions. The use of collage in the visual arts began hundreds of years ago but made a dramatic reappearance in the early 20th C

The term collage derives from the French coller, meaning glue. Coined by Picasso in the beginning of the 20th century when collage became a distinctive part of modern art. Michael's collages are held in many private collections across the world.

Born London in 1947, Michael studied at Southend, Manchester and Chelsea Schools of Art and graduated with an MA in Fine Art in 1971.

Becky Lewis (Print) 

Becky's works displayed here focuses on the relationship we have with the intense visual culture we come into contact with on a day-to-day basis.

She is interested in the effect this ceaseless flow of images has on our perception of the familiar and the ordinary and experiments with this relationship between collage and lino printing.

Becky's working process is collage from found imagery turned into lino prints. When she collages and prints with these images, it is her aim to establish more of a presence and give a context back to a forgotten image.

Becky enjoys the labour of her work, the physicality of the collage and the labour of cutting it out and digging out lino is therapeutic. The beauty of lino printing is that she can reprint a lino over and over again to the point where the print abstracts itself.

Becky particularly likes the hand printing process because although the lino print is the same, each print has a certain texture. She knows when a piece of work is finished because it satisfies her need for a graphic aesthetic and has urged the viewers to interpret the image in their own way. 

The collage that features through the print is her own-collaged work, as she wants to represent this cycle of images. Each one of the prints is of a collage but has a different aesthetic as a print. The larger lino has been printed by hand, which she prefers, as has a slightly different texture and maybe even a few flaws that she openly welcomes. 

Becky Lewis | Linocuts & Collage | Cornwall 

William Lindley (Print)

William Lindley's practice is primarily concerned with locations of transformation and his pieces evolve from architectural investigations and research.

His practice incorporates drawing, intaglio printmaking and other media to create delicate works exploring historical changes and contemporary visions of place. The selection shown as part of print is highly graphic and intriguing. As strange as it sounds, the depiction of the architecture has an almost uneasiness to it.

Born in the UK in 1978. His artistic practice is informed by his training and practice in architecture, research and regeneration in the UK, Netherlands and Egypt. His work has featured in various galleries and installations, including the Mall Galleries, Hackney Museum, Gallery Oldham and the London Design Festival. 

William Lindley | Intaglio printmaking 



Mark Lloyd (Select)

Mark Lloyd is an emerging British artist who has worked over the last 20 years in 'painting'. He has been profiled on the Saatchi Gallery website as part of the 'New Sensations 2012'. He practiced as a graffiti artist in his early career but has since studied art to a high academic level. His work is made from a diverse number of processes and practices.

Mark's work was originally based on the concept of consumption on an individual and societal level and examined its effects and consequences in reference to conceptions of God(s).

More recently he has progressed into contexts and conceptions of utopia/dystopia which again references higher powers. The writings of the post-modern philosophers have influenced his practice intentions, and in particular that of Baudrillard and Lacan, but one philosopher has become a personal hero of Mark's; and he is 'Zizek'. The images show some of his recent work from an exhibition titled; 'Is it safe?'  It refers to the symptom of being continuously monitored by, unseen controllers and unseen powers whether from a technological or spiritual source. The large paintings illustrate a simple motif, the sphere which has great historical, philosophical, spiritual, and psychological significance and meaning in a myriad of cultures. In these paintings the sphere represents or rather simulates multiple meanings from the tiniest molecule to the largest universe or 'everything and nothing' at the same time. His artworks become simulations of paradoxes. Many of his works feature a dot or geometric pattern or matrix, this is intended to imitate or simulate the pixelated and digital contemporary age of the computer screen.

His work synthesises the traditional and non-traditional both in practice and ideology from high and low cultures, themes from the sacred and profane, this ensures his work is saturated with the post modern condition of contemporary experience.

Jude Lloyd-Johnson (Cheshire Open Studios)


Jude merges photographs, choosing to bring elements of life that are not usually seen together in a juxtaposition of harmony & balance.


Graeme Lowe (Image Conscious) 

Graeme Lowe


Graeme's work, although undeniably idyllic and beautifully captured, holds precious personal memories.  The composition of each shot shows a skilled eye for detail. Most of the shots Graeme captures have been visualised in his head before finding the perfect position, lighting and timing to recreate his vision.


The black and white photographs depict rural and city life to form beautiful landscapes. The contrast between the images taken during the night and day highlight the versatility and precision Graeme portrays. His personal connection to each location adds a new dimension to the photographs.


Graeme's uses traditional film and his prints are all hand produced using the traditional 'wet' method and the nature of the toning process ensures that each piece is unique.


Graeme Lowe grew up in Warrington and spent most of his childhood walking the mountains, moors and pathways of the country with his Father. He fell in love with the breath-taking scenery and decided to dedicate his life to capturing what he saw through the medium of photography.


Graeme Lowe | Fine Art Photography| Warrington


Hannah Luxton (Focus photography exhibition)

Hannah is a London based artist who graduated in 2012 with an MA from the Slade School of Art.

Hannah's practice is oriented around the ethereal, and she is interested in Romanticism's notion of portraying divinity through nature. Hannah's work play with these ideas through juxtaposing the definitive qualities of geometry against the indeterminable (weather, light, space).

Photography and print are integral methods that Hannah  uses in the development of all her ideas, which often lead to paintings and installations but in this occasion a mixed print and photography installation.

The various processes of making encourages Hannah to think about layers, lines and strength of marks. Her fondness of photography is in the way it allows her to play with light and space in the landscape.

In all of Hannah's work her motive is abstract, but she takes a documentary approach, by capturing found moments of natural composition within the frame.

Hannah Luxton | Photographer & Printmaker | London


Kate Lynch 


Spheres of Influence


Artwork deals with the historical, ancestral and archetypal; where found 20th

deconstructed and distorted by layering surfaces and images to comment on the cyclic nature of cultural trends.


Digital images & screen print have been 'overprinted' to create layered residual surfaces along with the use of the laser cutter as a 'printing' tool to etch into surfaces. These processes both obliterate and reveal process, history and the visual information found within the patina of objects from both the natural world and man-made environments. Issues of sustainability and environmental concerns are addressed through the use of clays and natural pigments as alternative print mediums.


Kate Lynch is also developing site-specific work at Shackleford Pianos to explore ideas of visual 'noise'. Musical layers and the visual elements of the pianos also inspire the work, with the traditions of good design, craftsmanship and skill within the arts being a focus. The tension arising from the combination of low-tech & hi-tech methods to create the installation re-introduces themes outlined in the Arts and Crafts Movement.




Bruce Lyons (Macrbe Macclesfield)


The subjects for Bruce's paintings are drawn from any number of sources: from imagination; from direct observation and experience; from man-made media and art history. In a world overflowing with still and moving images, nothing and everything is a worthwhile subject.


The starting point for his work originates in many different places and they all develop along the same set of processes. Although landscape is dominant in his ideas, Bruce has developed an interest in the textures formed by the various methods of decay on materials, man-made and natural. A recurring theme in his work is rust with its multitude of colours and textures.


Bruce has always had a keen interest in the work of the Japanese woodblock printers of Ukiyo-e, the Floating World, the painters of the Renaissance, and twentieth century artists too numerous to mention. Artists who deal with a combination of the abstract and qualities of texture such as Tapies, Anselm Kiefer and David Nash have been strong influences in Bruce's development although he is always looking, learning and changing.


Liz Macdonough (Cheshire Open Studios)


My paintings begin with feelings derived from alternative perspectives bordering on a spiritual level. Working the contrasts of depth, texture & luminosity. My jewellery is created with a slightly obsessive edge, intricacy & layering; displaying angelic imagery Vs devilishly gothic undertones. My work can give an enlightening or uneasy impact.

I choose to take art back to basics, by stripping away any facade I facilitate in sharing the exploration of my inner universe. Take you on a journey of the cosmos around me and the discovery of art being a spiritual experience.


Jo Mair (Select)

Being primarily inspired by colour, light and pattern, Jo has found that during extensive travels in north America the huge variances in natural and urban environments provides a limitless canvas for photographic exploration. 

The photographs chosen for SELECT were taken in Canada and USA during the past five years, capturing both the cosmopolitan vibrancy of cities, their development and the contrasting rural landscape of small town America.

The images are more than snapshots of scenes and daily life but are a collection of almost sentimental photos. They have been chosen for the exhibition due to their nostalgic nature and wistfulness.  


Sian Louise Mason (The Real Draw | Illustration exhibition) 

The aim of my work is to create collections of contemporary illustrative designs that can be used for a variety of markets and uses.

I have a keen interest in transforming the ordinary and mundane scenes that we pass on a daily basis; finding and drawing attention to the detail that we rarely take the time to notice.


For this collection, I have based my work around the R.E.M stage of sleep. This is where we use the collected data from our daily mundane lives and create dreams from them. Within your dreams, the information collected can begin to lose detail and the scenes begin to blur into one journey, with certain aspects standing out as more detailed than others.

 It was my intention to create a journey of remembering and embellishing upon the scenes we see on a frequent bases; in my case the urban streets and alleyways of Manchester.


My idea was to create work that was built up in layers so that the designs could be mixed and matched, with some pieces with more detail and some with less. The concept of my design work is to work with translucent materials for example acrylic, glass and PVC, so that interior areas can fall into the background, enabling my illustrative designs to brighten and embellish upon what is behind without distracting.


Pete Marsh (Gifted)


Pete began painting and printmaking again in September 2009 following the discovery that

an old friend and artist, Garry, had died.

Feeling compelled to produce his own work again for the first time in nearly twenty years, Pete is exhibiting and selling once again.He feels his work is perceptual rather than conceptual, emotional rather than intellectual and he prefers expression over realism, subtlety over sensationalism, substance over noveltyand intuition over reason.

Pete's work is held in private collections in the U.K., Canada and Australia. See some of Pete's work at www.petemarshfineart.com


Claire McDermott ARBS (Select)

Claire Mc Dermott's art derives from microscopic studies on plant anatomy and is the inspiration for works ranging from drawing, painting and sculpture as a form of expression of thoughts.   

Her main interest is spent (dead) flowers, which could be perceived as being dark and infamous, but the artist finds them captivating for their ability to have unnoticed beauty.  

Her artwork often begins as a representation of nature, but by developing each body of work the viewer can see the creative progress of the transformation from traditional art forms into the abstract. 

Mc Dermott was born in London in 1964 and studied at Harrow College, Kew Gardens and De Montford University in Lincoln.  She has exhibited across the south west of the UK including London, Hampshire, Surrey, Sussex, Gloucestershire and Wales.  She is Chairman of an art group called Exhibit and is a co-founder of The Gallery HAC, which received the support of public funding by the Arts Council, England.  Mc Dermott currently lives and works in North West London.

Greg Meade (The Collection) 

A Manchester based artist, Greg is known for his use of vibrant colour and abstracted perspectives. Drawing inspiration from travelling throughout Europe he applies elements of creative photography to the contemporary impressionism of his paintings. The use of double/triple exposures is a key element to his photography work, using mostly 120 film format to facilitate this. The idea of merging structures or 'remapping' them to create a new object is a theme that runs throughout his work.


Marcia Micheal (The Collection)


Marcia Michael, studied BA Photography at Derby University, heading back to London  where she was born and raised.

At this time Marcia freelanced, working with fashion designers and magazines in the UK and world wide and taught part time at London College of Printing.

In 2009 Marcia attended London College of communication and completed an MA in photography passing with a distinction. Upon leaving, Marcia won a bursary from Rhubarb Rhubarb, in which her work was exhibited as part of a group show at Flowers East gallery London and Rhubarb East gallery Birmingham. 

Marcia's work The Study of Kin' won as a finalist in the International photography awards "family section, she won Honorable mentions in Lens culture and Santa fe awards and is currently participating in the  Lucie Foundation E-pprentice. Mentor program.

Marcia's work The Study of Kin was chosen as one of 14 International discoveries at Fotofest Houston 2011.

Marcia's work The Study of Kin won the Spotlight Award in the 2010 FotoVisura Grant', while as part of the 2010 Taylor Wessing Photographic portrait prize held in the National Portrait Gallery London, Marcia's image 'Back of girl was chosen for exhibition and traveled to Sunderland in 2011.

Marcia Works has appeared in numerous publications, on and off line, with the latest being a portfolio piece in Exposure: The Journal of the Society for Photographic Education.

Marcia is not just a photographer she has had poems published and is also an accomplished bookmaker.

Marcia has an upcoming show in 2012 at the New Art Exchange Gallery Nottingham  UK in their new central gallery for emerging artist.


Davide Maione (The Collection)


In this work, while attempting to link photography and performance together, Davide explores notions of selfhood in relation to its surroundings and language. The images are conceived as sketches of situation or annotations of ideas that comment on the way people interact with each other and the way we look at ourselves and identify with the other. Accordingly, while using a visual rhetoric open to interpretation, Davide is interested in highlighting the ambivalence between essentialist truth (or the quest for it) and the interplay with fictional selves imbued with humour and self-denial.

Davide was born in 1978 in Milan, Italy. In 2007 he graduated from a BA in Photographic Arts at the University of Westmisnter. In the same institute he completed an MA in Photographic Studies in 2011. Davide's work has been exhibited in the UK, Russia and Italy. Some of his work is held in private collection.


Jane Mitchell (Cheshire Open Studios

Having spent 28 years teaching Art and Design I now submerge myself in my own work developing a printing process on an obsolete machine and creating wall art and Limited Edition silk scarves based on my two loves Nature and Travel.


Mocksim (Contra-Invention) 


An Arts Councill funded exhibition of the photographs Traffic Wardens take, as evidence, in one British Town.  Over a two year period artist Mocksim managed to obtain hundreds of these images of other people's illegally parked cars. Occasionally Wardens inadvertently capture themselves in reflection and the artist manoeuvred his way into a number of the pictures. A selection of night shots have been chosen for exhibition and the infamous catalogue will also be available.  

Micheál O'Connell (Mocksim) has exhibited widely for a decade at locations such as the Whitechapel Art Gallery in London, the on-line world Second Life and a campsite in Venice. More recently his series Contra-Invention was invited to  Les Rencontres Internationales de la Photographie d'Arles and he was subsequently nominated for the Deutsche Börse Photography Prize 2012. That exhibition is now touring Europe as part of a group exhibition, From Here On, most recently at Arts Santa Mónica, Barcelona. Contra-Invention also appeared in 2012 in Macclesfield (thanks to an Arts Council England grant), Bolton, Lincoln and Cork City, Ireland (supported by CIT/Wandesford Quay gallery). The original catalogue for Contra-Invention was included in Martin Parr's Best Books 2010. O'Connell's latest series of works Missing You initially exhibited in Brighton, then Lincoln will be on display at Marburae Gallery Macclesfield in February and March of 2014. An event to coincide with the latter exhibition titled From Jacquard to JPEG will be held at Macclesfield Silk Museum/Heritage Centre on 1st March 2014 with prominent photography artists Mishka Henner and Rut Blees Luxemburg.
Mocksim has done it again and found beauty where no-one else would! The artist discovered something special when, in late 2012, a parcel was repeatedly delivered to his headquarters (home) at times which were not suitable. As the 'Sorry We Missed You' cards piled up he realised that at least it was possible to track the movements of this unfortunate package: the times, dates and locations, as it rebounded around the supply chain, from distribution centre to warehouse to destination and back again. Undoubtedly there's a certain musical quality in all this unnecessary transportation but that's not all: when the package did finally arrive, Mocksim, having got into the habit of using the tracking system every day, tried it one more time, out of curiosity, and found to his astonishment, in addition to the usual data, a jpeg record of his own signature! Can you believe it?
And there's more! Shortly afterwards he discovered that it was possible to download the same information, including receiver's name and Point of Delivery Signatures (PODS) for other people too! Seeing an opportunity not to be missed the intrepid artist got to work and acquired data for hundreds of deliveries around Britain during the year which followed. And how lovely these varied gestures appear, mark-making at its finest, rough, low resolution jpegs certainly, hampered by poor technology and frequent lack of interest (though occasionally surprisingly meticulous examples turn up) but these are records of a real meeting between two people, the signature-images represent an element of humanity, something corporeal and fleshy even, in the otherwise dry and alienating system. You'll agree then that these PODS, presented in various formats, as print and moving image, together with other information and the catalogue (or manual?) form a crucial contemporary exhibition. As always the artist is happy to have devoted his energies and engineered this on behalf of the real creators. No gratitude required or expected.



Missing you


In late 2012 I repeatedly missed a parcel being delivered to my home.


After studying the 'Sorry We Missed You' cards left after each unsuccessful delivery, I realised I was able to track the packages movements; in this case, the times, dates and locations as it travelled from distribution centre to warehouse to my home and back to warehouse each subsequent time we had failed to meet.


Eventually I was there to sign for the parcel, and, perhaps in need of remote confirmation that I was holding the parcel in my hands checked the tracking system again. Alongside the usual information, I saw a small .jpg image of the signature I'd just left; a Point of Delivery (POD) signature.


I keyed in an invented consignment number and saw the parcel information for a stranger; the times, movements and their similar .jpg image.



Mocksim | Photographer, installation artist and information gatherer | Brighton



Chris Moore (The Real Draw | Illustration exhibition)

When Britain’s premier publisher of classic science fiction needs artwork to equal the prose of a Philip K Dick or an Alfred Bester, there’s only one place to go. Chris Moore is recognized as a master of hi-tech, hi-sheen science fiction illustration. At a 2004 book launch in London by Orion Publishing, 7 out of the 9 paperbacks and 2 out of the 3 hardback releases carried Chris Moore covers.


Although his book jacket work alone would more than equal the output of half a dozen lesser artists, he’s also worked in advertising, designed record sleeves, and provided concept art for the likes of Stanley Kubrick and George Lucas. His tie-in wallpaper designs for The Empire Strikes Back graced many a Star Wars fan’s bedroom. His work has even been launched into space, when he was commissioned by the Isle of Man Postal Service to incorporate his jacket art from Arthur C Clarke’s 2001 into a special First Day Cover, an example of which was signed in orbit by the crew of the NASA shuttle.


Chris Moore was born in Rotherham, South Yorkshire in 1947. He says that he’d always wanted to be a commercial artist, even before he knew what that actually meant. He was educated at Mexborough Grammar School, after which he went to Doncaster Art School.


Between 1966 and 1969 he attended Maidstone College of Art on a Graphic Design course, and was then accepted by the Royal College of Art to study Illustration between 1969 and 1972. Here Chris gained practical experience with illustration commissions for his fellow students in the Graphic Design department.


In 1972 he joined with Michael Morris, also an RCA graduate, to form Moore Morris Ltd. They based themselves in Covent Garden throughout the early seventies, and from day one worked on book, magazine, and record covers. The Covent Garden design group lasted until 1980, when Moore married and moved out of the centre of London.


Though already an established illustrator, moving out of London and away from his major markets was a bold step. These had been heady days; recording artists for whom he’d provided album covers included Rod Stewart (“The Vintage Years”), the group Magnum, Journey, Fleetwood Mac (“Penguin”), Capricorn Compilations Inc. (The Allman Brothers Band), Lindisfarne (“Magic in The Air” and “The News”), Status Quo (“Just Supposin!” and “12 Gold Bars”), and Pentangle (“Pentangling”). Further work followed for Phonogram, Polydor, and Transatlantic Records. He came up with design concepts for The Chanter Sisters, managed by Justin de Villeneuve of “Twiggy” fame, and for YES’s Rick Wakeman (“No Earthly Connection”).


So far, Moore had been working closely with art director Peter Bennett at Associated Book Publishers, providing jacket art for almost every type of publication BUT science fiction. “In fact,” says Moore, “I was barely aware of science fiction. I’d seen 2001, and that was about all.” It was Bennett who suggested that Moore should try his hand at SF covers, and in 1974 he began his long association with the genre.


But it wasn’t an exclusive association. As well as work on titles by Isaac Asimov, Larry Niven, Frederick Pohl, Anne McCaffrey, Clifford D. Simak, Kurt Vonnegut, J.G. Ballard, Arthur C. Clarke and Samuel R. Delany, Moore was also the artist of choice for more mainstream writers like Jeffery Archer, Frederick Forsyth, Jackie Collins, Claire Francis, Stephen Leather, Wilbur Smith, Terence Strong, and Colin Forbes.


He’s worked for such US publishers as Harper Collins, Daw, Random House, Tor Books, Bantam Books, Penguin Books, Dell, Warner Books, Avon, Berkeley, Ballantine, William Morrow, and Pocket Books. His work has featured on Omni Magazine, Analog, Science Fiction Age, and Isaac Asimov’s Science Fiction. UK publishers include Transworld, Orion, Pan, Penguin, Harper Collins, Sphere, Hodders, Associated Book Publishers (Magnum), Headline, Random House, Time Warner, Octopus, Hamlyn, and many others.


In the early 80s Moore joined Artist Partners, considered by many to be the best and most established Agency in the UK. Dom Rodi, the Managing Director at AP, had previously been the Art Director at Sphere Books. Moore and he had already worked on many projects together. Rodi and Moore formed a good team, working on cover concepts together and offering a complete service to the publishing industry. Together they would brainstorm on ideas until they arrived at something they thought would work for a particular book. (Dom Rodi today is retired and living in Florida).


Moore’s first trip to America around 1984 generated commissions from Dell and Vintage/Random House. By 1987 Moore had established a reputation with Judy Loser at Vintage/Random House and produced covers for more serious ‘literary’ fiction than the usual mass market paperbacks. This offered Moore the opportunity to come up with concepts which had a more ‘editorial’ feel to them yet still retain their attractiveness as covers. Titles included “Steps” by Jerzy Kosinsky, “The Ultimate Good Luck,” by Richard Ford, “Angels” by Denis Johnson, “The All-Girl Football Team” by Lewis Norden, and “Ellen Foster” by Kaye Gibbons.


In the late eighties, Chris Moore acquired an agent in the USA: Bernstein and Andriulli Inc. Through this agency Moore received a huge variety of work, including major advertising campaigns as well as the more familiar book cover and record sleeve deals.


Moore’s first encounter with the film industry was 1989, when his agent set up a meeting with Stanley Kubrick to discuss a project based on Brian Aldiss’s “Supertoys Last all Summer Long.” Moore did a few sketches for production paintings, but he couldn’t get Kubrick to agree on a price for the job. Furthermore, Kubrick didn’t want to work through Moore’s agent – an uncomfortable situation, given that his agent had created the opportunity in the first place. Moore declined the job on principle. The project was eventually realised after Kubrick’s death as AI, directed by Steven Spielberg.


In 1995, encouraged by his good friend Jim Burns, he attended a World Science Fiction Convention in Glasgow (Glascow Worldcon) where he showed some original artwork for the first time. When Jane and Howard Frank from Worlds of Wonder in Washington, USA, purchased two of Moore’s paintings, he realized that there was a market for his original artwork.


At the same convention, Moore met and became firm friends with fellow-artist Fred Gambino. Gambino was instrumental in persuading a reluctant Moore to incorporate computer technology into his work. So reluctant was he that it took him five years to purchase his first computer! One of Moore’s most outstanding digital paintings was for the cover of “The War of the Worlds” in “Graphic Classics: H.G. Wells.” This was a 1998 Orion publication that combined The War of the Worlds and The Time Machine in one volume. Moore says he “very much wanted the atmosphere to be both British and Wellsian. I thought it would be nice to have Big Ben standing as a timepiece along with the Martian tripod, giving a presence to both themes in the same image.”


Chris Moore’s art has been featured in the magazine Rosebud 23, a magazine of fiction, poetry and art, and Fantasy Art Masters (1999, Watson-Guptill). He participated as a writer in Fred Gambino’s book, Ground Zero, contributing a chapter along with such other artists and authors as Jim Burns, Robert J. Sawyer, David Brin and Elisabeth Moon.


“Journeyman: the Art of Chris Moore“, by Stephen Gallagher, is a profusely illustrated book that explores Moore’s life, art, and technique. The book was published in 2000 by Paper Tiger. Nine years earlier, in 1981, Dragon Dreams published “Parallel Lines“, a book that featured the art of Chris Moore and Peter Elson (who passed away in 1999). This was followed by Martyn Dean’s “Dream Makers”, in 1988. The book was published by Paper Tiger and featured artwork by Melvyn Grant, Julek Heller, Michael Kaluta, Berni Wrightson, Charles Vess and Chris Moore.


Despite such a range of achievements, Moore has never sought to promote himself. Aside from a readers’ award for Best Cover Art from Asimov’s Magazine, his only public acknowledgement to date has come in the form of a Pink Pig Award in 1982, given by Women in Publishing for “Higher Tech”, a painting of a sensuous female robot!


Moore says, “All I’ve ever wanted over the years has been to gain the respect of my peers. They know what it takes to survive and succeed in this business. I’d like to think that I’ve not only earned their respect, but also their friendship.”




Brigid Mullally (Cheshire Open Studios)

I am a Cheshire based professional & versatile Artist & Art/Craft tutor of painting (in any medium), drawing, calligraphy & illustration. Open to commissions & project work. Enhanced CRB checked.

My main aim is to share, encourage, inspire and promote art for everyone to enjoy! Whilst much of my own work is inspired by the landscape and the changing seasons along with a great love of nature, the human form and wildlife the real passion behind each painting is to capture mood, atmosphere and colour. I find great inspiration from dabbling in various art and craft forms and am forever experimenting with new artistic methods and techniques.

Besides working on my own portfolio & exhibiting my work I also teach various art workshops throughout Cheshire either as group sessions or on a one-to-one basis. Occasionally I organise group art holidays and day trips out and a keen participant in community based art projects providing demonstrations and workshops in various artforms.



Judy Musselle (Abstracted)


Judy is an artist and illustrator living in Southport. Her work has been widely and exhibited featured in a children's book commissioned by Harper Collins.

Judy studied Art and Design at Doncaster College of Art and Bradford College of Art where she  went on to teach Illustration.  Her work has sold worldwide as posters, greeting cards and stationary and has been used for advertising, educational books and magazines. Clients have included Paper House, Canns Down Press,  Mothercare and  Bookstart . Judy has also won the Bohemia Award at the recent Open Exhibition at The Ferens Art Gallery in Hull.

Judy's pieces are created in acrylics and she is also a printmaker using linocut and etching. She also considers herself to be a muralist;  creating murals as solo projects or with groups of children and young people with 28 schools in the East Riding of Yorkshire.

Judy  draws her ideas from the people and landscapes around her, memories and her children but she is also inspired by stories and dreams of magical faraway lands.

Judy aims to describe visually  her thoughts on the complexities and fears of childhood and adolescence , the loss of innocence and facing up to responsibilities.  Judy's paintings have a strong narrative quality and it is clear she enjoys using colour and pattern. The stunning works have been described as humorous and but dark. 



Liz Mylonakis (Macrbe Macclesfield)


Liz Mylonakis is a painter from Macclesfield, Cheshire


Her paintings explore simple organic / biomorphic imagery and shapes inspired by forms in nature with an emphasis on bright colour and striking, bold composition. She also sometimes uses a variety of found materials in her mixed media work.

Mark O'Hara (Portfolio) 

Mark O'Hara is currently studying Fine Art at the University of Derby but was born in Macclesfield.

Mark's most recent work is lens based primarily using video however he also uses photography to capture stills to highlight key images in his projects.

Mark's project Waste exhibited here at Marburae Gallery explores the dull colours of urban buildings, roads and city planning, in this case Manchester contrasted with the bright colours of rubbish that Mark feels is slowly taking over our urban areas.


Becki Pate (Print)

Becky Pate

The work shown at Marburae Art Gallery forms part of a series of screen prints produced in November 2011 exploring and deconstructing personal photographs of architecture from cities that Becky has lived in.

Becky's current work looks at personal geography, layers of memory and location, architectural presence, belonging and self. She often feels that the experiences she has had and the places they occur in are forever linked.

Becky is fascinated by the different personas we create throughout our lives.  In the past she has explored self portraiture, made up characters and used double exposure photography.  She is forever attempting to make sense of the stages of her life and the locations she has inhabited.

Becky particularly enjoy processes that combine photographic techniques with print, eg screen-printing, photo etching, solar plate printing.

She is also interested in the act of deconstructing and rebuilding, failed images and abandoned photographs; analogue and digital, drawing and photocopying, working in an autobiographical and archaeological way, using print and photography. 

Becky Pate | Mixed media printmaker 

Sam Paechter (The Collection)


With an insatiable appetite for fiddling and a background as a composer of music for theatre and site-specific performance Sam came across 3D photography through his interest in Victorian illusion - the praxinoscope, mutoscope and stereoscope. In his art he tries to reproduce for the 21stcentury viewer something of the wonder of the Victorian sideshow.

Sam uses techniques invented in the 1850s and developed in the mid twentieth century by American air force reconnaissance technicians, along with digital processing to make anamorphic anaglyphs - 3D photographs which give the impression of an object being really there.

His subjects are objects and people that are important to him or are specific to the venue in which they are to be displayed. 

Previously Sam has concentrated on site-specific installations in public spaces. For example inThe Ironmongers of Illusion worked in a functioning DIY shop, replacing items of stock with anamorphic anaglyphs of those items; a playful, interplay between the real objects and their illusory counterparts.

More recently Sam has been exploring the compelling and unsettling potential of life-size,  and larger than life, portraiture.

Charlie Penrose (Abstracted)

 Charlie's practice seeks to question subjectivity and objectivity in relation to human existence. He employs language and text in his exploration of this dichotomy, and in doing so indulge a fascination with the strengths, weaknesses and intricacies of these as communicative tools.

Charlie's work finds him recurrently questioning the subtleties of interaction and communication that permeate human existence as well as analysis of iconography, social constructs and ingrained philosophies. Charlie is as interested in the grand narratives that underpin our being as he is in the trivialities and frustrations of day to day being. Charlie's work adheres to no one philosophy or sys­tem of belief in particular, instead he is interested in delineating common and distinct themes that pertain to an idea of 'the self'.

Apparent in his practice is a desire to define and establish some sort of justification for his own purpose within an ever ex­panding sea of nothing, and it is this dynamic and uncertain position that provides the starting point for much of Charlie's work.


Sam Pearson (Focus, photography exhibition)


Life & beauty in South America

During his recent travels in South America Sam took an extensive collection of photographs to document his journey through seven countries of a hugely varied and beautiful continent.

The pieces exhibited are selected with 'Life & beauty in South America' in mind, showing  the people, the landscapes, and parts of their lives that make up their identity.

From the working fisherman of a Chilean seaside village, to the rural Ecuadorian woman herding cattle, to the local Peruvian kids enjoying a game of football on the beach, both the life and beauty in their different existences comes across strongly in these snapshots into their lives.

Sam Pearson | Travel photographer | Stockport


 Lisa Petterson (Pop, print & Stitch!)

Lisa Pettersson grew up in Sweden but has since 1995 spent most of her time living, studying and working in the UK. She is currently living in Edinburgh where she works as an artist and graphic designer. She exhibits regularly around the country and beyond and has paintings in private collections in the UK, Sweden, Holland, France, USA, Brazil, Vietnam, Australia and Hong Kong.

Intimately familiar situations and domestic life and spaces has been a long running theme of Pettersson's painting, which bridges fine art and graphic design. Her most recent works are inspired by 50s children's book illustrations and childhood nostalgia, and are jerked into modernity with compelling results.


Deborah Pitmann (Focus Photography exhibition) 


Deborah's photography is a love song to where she lives.

The built environment and the natural landscape both catch her eye as  she searches for new ways of reveal their beauty in her art.

The pieces selected for 'Focus' hint of memories, deep thoughts and lost moments. Each image allows the viewing to dwell, dwell on the image itself but also dwell on the thoughts and memories that it provokes.

Deborah Pitman | Photographer | Derbyshire


Kevin J Pocock (Pop, Print & Stitch)


Kevin is fascinated by the thoughts, memories and dreams we carry with us each day. The ones that make us tick. He likes to incorporate the universal to represent the very personal. Private thoughts made public. The internal made external.

His work consists of paintings, drawings and video. Most pieces start as a very small, rough, spontaneous sketch. He jots an idea down wherever he might be and later select from these to create a larger piece. This could be a painting on canvas but it could also be a film. The final work is very close in spirit to the original sketch.

Kevin enjoys playing with symmetry and asymmetry, and mixing different architectural representations of space - elevation, perspective and 3D projections such as axonometric and isometric

.He was brought up in Dorset, on the south coast of England. His memories of that landscape and coastline, together with his studies as an architect at Cambridge University, has helped form and direct his work. Kevin loves creating new spaces and mixing the artistic with the technical.

He trys to achieve an effective simplicity. No more no less. A quiet contemplation. A private moment.  

Kevin has just been selected for the John Moores 2012 painting prize.


Michele Pouncey (Print)

The pieces exhibited at Marbuae Art Gallery were influenced by a trip to India. The landscape, sacred geometry, vibrant colours and pattern are represented within the prints.

The graphic, almost static works are a very bold way to depict a landscape.

Michele handprints and dyes textiles for costume design for Tv and film and use these processes within her own personal work. Influences are taken from pattern repeat, printed textiles, historical costumes and graphic design. By keeping images simple yet precise she likes to translate a subject into an abstract piece of work.

A dedicated printmaker Michele has worked in all areas of printmaking including silkscreen, etching and relief printing.  She likes to use traditional methods and applying a contemporary twist. Of course in doing this the process itself becomes part of the work 

Michele graduated from MMU in 2004 with a 1st class BA (Hons) fine art in printmaking. Since then she has exhibited and sold work throughout the UK.

Michele has her own studio/company 'Flux' based in south Manchester (www.flux.uk.net) and she is also a member of rogue artists studios based in central Manchester. 

Michele Pouncey | Silkscreen printing & Relief printing 


Adrian Pritchard (Pop, print & stitch)

 Adrian makes work that attempts to redefine our relationship with matter by using gravity, the very force that universally dictates form. By working with the tensions between friction and fluidity, the dynamic and the static, the imposed geometry of the support/venue and the inherent viscosity of commercial substances, Adrian explores the on-going visual aesthetic. Just as a research scientist sets up the parameters of an experiment, he sets up the ground upon which the interaction of self-regarding man and nature can take place, and the resulting work moves from matter to metaphor.

Adrian Pritchard captures motion in his paintings using practiced techniques such as pouring on a single point on a flat canvas before spinning to disperse the colours. The works are left to dry flat for several months. Some 'grow' thick layers of paint which can produce stalactite-like forms; others crack revealing sub-layers below.
These accompany kinetic art installations - a live work in progress during exhibition's. Viscous liquids are chosen for their symmetrical and entropic qualities - watching paint dry has never been so interesting.

Yasmin Ali British Architects Journal 2009 The Critics Choice August 2009

Artist Adrian Pritchard "Investigates the nature of Matter" via "Viscous Substances, entropy and symmetry". I think that means he pours, spins and throws paint at stuff and it LOOKS COOL. I'm in!

Lauren Laverne Top 5 Must see Grazia July 2009