Miranda Boulton

b. 1973, Cambridge, UK.

"My paintings are about the passing of time, they are Memento Mori, reminding us of our mortality and the transience of life. I paint flowers, alive, beautiful, decaying, dying, haunting, life affirming, poignant, reassuring. Always at the height of their beauty they fade away. They cover the monumental and the everyday. My grandfather was an artist, he died before I was born, my grandmother kept his studio the same as the day he died. As a child I use to sneak into his mysterious studio and imagine talking with him about his work. These conversations made me want to paint, to recapture something of him and make it present again.” – Miranda Boulton

For Miranda Boulton painting is an ongoing conversation between the past and the present. She is fascinated by Flower Paintings from Art History, having spent a great deal of time looking at paintings by Morandi, Winifred Nicholson, Manet, Rachel Ruysch and Mary Moser to name a few. She absorbs their work and follows their brushstrokes as if listening in on a conversation. Memories of their paintings are used as the starting point for her own process, searching for a space where she has touched on the feel and presence of a painting from the past. There is an essence of the original, an acknowledgement of a time, place and history all in the mix. Flowers remind us of the fleeting, transient nature of life.

Colours slide and slip around the surface, large sweeping gestures made by hand or brush sit next to layers of impasto paint and carefully painted details. Areas of soft powdery spray paint collide with hard built-up oil paint. The canvas is turned to destabilise and shift the composition, giving fresh perspective to the process.

Boulton thinks of painting as a time-based medium; layers of paint are like age rings on a tree, each holding memories of brush marks and integral to the finished piece. Each painting is an ongoing conversation between past and present, an exploration of new forms from old imagery and narratives.

Miranda Boulton is a contemporary British painter who lives and works in Cambridge, UK. She studied Art History at Sheffield Hallam University and at Turps Banana Art School in London.

Boulton’s solo exhibitions to date include: ‘Lost In The Middle’, Newhall Art Collection, Cambridge, (2012) and ‘Outside In’, Madame Lillies Gallery, London, (2011). She has also exhibited in two-person exhibitions including ‘Double Time’, Arthouse1, London, (2019) and ‘Off Line/On Line’, Studio 1.1, London, (2015).

Notable group exhibitions include: ‘Goddesses on Sea’, Lido Stores, Margate (2023), Hamptons Fine Art Fair, Cynthia Corbett Gallery, USA (2023), ‘The Goddesses’, Terrace Gallery, London, (2023), Expo Chicago, Cynthia Corbett Gallery, USA (2023), British Art Fair, Saatchi Gallery, London (2023/2024), London Art Fair, (2022), ‘Inspire 2022’, D Contemporary, London (2022), ‘This Year’s Model’, (Part II), Studio 1.1, London, (2021) ‘This Year’s Model’, (Part III), Studio 1.1, London, (2021), Royal Academy Summer Exhibition (2016 & 2019), ING Discerning Eye (2021), Young Masters Autumn Exhibition 2022, Young Masters Invitational at the Exhibitionist Hotel (2023-24), and ‘Staged by Nature’, Glyndebourne (2023).

In 2021 she won the Jacksons Painting Prize. Boulton took part in a residency with The Bothy in Glasgow for project titled ‘A Painter and A Poet’ Eigg, Scotland, in 2018, and in 2021 she was artist in residence at renowned department store Liberty London.

Miranda Boulton’s work in many private collections in the UK and internationally.

Miranda Boulton will mark her London Solo Exhibition debut with 'Ghost And Flowers' presented by Cynthia Corbett Gallery at Gallery 67 in Marylebone London, in October 2024.

Miranda Boulton is represented internationally by Cynthia Corbett Gallery.

Matt Smith

b. 1971, Cambridgeshire, UK

Move - A new collection of works by Matt Smith.

The vessels take The Grand Tour as their starting point. They consider the movement of people, and the ability to move. They provide a container within which to bring with you what you need to survive and thrive, as well as acting as a holding place for the sense of self brought with you from where you came.

Their title refers not only to physical movement, but also the generation of affect - the emotional responses of care and empathy that are needed to create a safe landing when people become displaced.

They draw on ideas of queer temporality - examining queer ways to think about history, space, relationships, notions of success and the need to move out of traditional family situations into new spaces.

Matt Smith is a multi award-winning artist based in Ireland and England. Acclaimed solo exhibitions include Losing Venus at the Pitt Rivers Museum, Flux: Parian Unpacked at the Fitzwilliam Museum, Who Owns History at Hove Museum and Queering the Museum at Birmingham Museum and Art Gallery. In 2015/16 he was artist in residence at the Victoria and Albert Museum in London. He holds a PhD from the University of Brighton and was Professor at Konstfack University, Stockholm.

In 2020 he was awarded the Brookfield Prize at Collect and the Contemporary Art Society acquired a body of his work for Brighton Museum and Art Gallery. His work is also held in the collections of the Victoria and Albert Museum, the Walker Art Gallery, Birmingham Museum and Art Gallery, National Museum of Scotland, National Museum of Northern Ireland and the Crafts Council collection.

In 2024, Matt Smith received a significant commission for a new exhibition at Kensington Palace titled Untold Lives: A Palace at Work, uncovering the forgotten stories of those who worked at the royal palaces over 300 years ago. He created a poignant series of plates that narrate the story of Gustavus Guydickens, a Gentleman Usher at Queen Charlotte’s court, who was disgraced after being accused of homosexuality. Find out more about: Shame: 'The Sad and Melancholy Tale of Gustavus Guydickens, 1730-1802' By Matt Smith, 2023

'Untold Lives: a fascinating peek below stairs at a royal palace' read The Telegraph article here.
Click to watch a video of Matt Smith explaining how he created his new body of work 'The Sad and Melancholy Tale of Gustavus Guydickens 1730-1802'
Watch video: Untold Lives | Dan Snow Investigates Forgotten Stories at Kensington Palace

Matt Smith is represented internationally by Cynthia Corbett Gallery and was the winner of the Young Masters Maylis Grand Ceramics Prize in 2014.

Daisy Mcmullan

b. 1985, UK

Daisy McMullan is an artist making richly layered paintings that document the natural world; inspired by magical realism and the ever-changing soul of the landscape, her paintings use expressive colour and mark-making to create otherworldly interpretations of the everyday. Her shimmering work captures the glimmers of hope and joy to be found in the natural world, should we choose to look closely enough.

Daisy’s paintings feature the verges, lines and paths that mark out ways of navigating the world both physically and emotionally. They feature places she walks regularly; overlooked, common spaces that belong to everyone and no-one. They are small wildernesses, uncultivated and irregular. Daisy uses these to create imaginative compositions that play with sacred geometries of nature, with multiple layers of colour and glazes giving a sense of hidden depth and stories hidden within.

Each painting is a meditation on an interaction with the natural world – a rewilding of the mind, the self, the soul. The Romantic ideals of returning to nature, individual spirituality, and treading ancient paths to commune with the metaphysical are highly influential on the process of making these works. They also reference Dutch Golden Age still life and forest floor painting, where life, death and spirit are carefully balanced and observed in sharply contrasting tones. The expressive mark making Daisy uses references Abstract Expressionism, particularly the work of Joan Mitchell and Lee Krasner. There is also a particular Englishness about the world depicted in Daisy's paintings that resonate with the work of Albert Durer Lucas or Lucien Freud's approach to painting plants.

The works are records of nature, preserving the seemingly unimportant for a future time. However, they are as much about the technology and theory of painting, constant and rigorous experiments with colour, opacity, viscosity and temperature. Daisy uses a carefully chosen palette of colours to render plantlife in a unique way that gives feeling, texture and movement to her paintings.

Natural forms are built using combinations of free, expressive strokes, textural stippling and folk art inspired lines forming leaves and petals. The use of tonal layers, similar in the construction of a screenprint, helps to build in movement and the tension of translucent and more opaque forms. A key technique of underpainting, inspired by past masters adds luminous depth. These ideas and techniques are built up gradually, adding colour and light in increments until a beautiful image finally emerges from the dark.

Daisy trained as a fine artist at Wimbledon School of Art and Camberwell College of Arts, receiving a BA (Hons) in Painting in 2007. She later studied for a Masters in Curating at Chelsea College of Art and Design, and was awarded a two-year Research Fellowship in 2012 at Chelsea Space, a public gallery at the College. Daisy works now as an artist, educator and curator.

Daisy’s notable solo exhibitions include: Observed Imagined Remembered, Cass Art Kingston (2022), and Rewildings, Dorking Museum (2022). She has exhibited in group shows including HERO, Great West Gallery (2024), Abstract Worlds, Croydon Art Space (2023), Winter Group Show, Folkestone Art Gallery (2023), and the Young Masters Invitational Exhibition, The Exhibitionist Hotel (2023/24). Daisy made her debut at the British Art Fair at the Saatchi Gallery with Cynthia Corbett Gallery in 2023, and will return with a new body of work on linen in 2024. She was also shortlisted for the SAA Artist of the Year People’s Choice Award in 2022.

Daisy works from her studio in Brixton, south London, creating paintings and exhibitions that reflect on nature and place. The works become emotional documents, depicting unseen feeling as much as they record the world that we can see.

Lucy Smallbone

b. 1988, UK

Nothing in our lives except big milestones are documented as much as holidays. Photos, film and other people’s narrative often distorts them. So memories become an ever-changing truth, peppered with strong feelings and senses. You probably can’t remember the entirety of a view, but you might remember the sunlight being so bright that you had to shield your eyes, or the smell of rain on hot terracotta. It is this interplay of sensual memory that Lucy explores in her work; over saturating colour or distorting marks to try and stir memories. There is also a beauty in trying to remember something and paint it, because at some point paint and the art of painting takes over. Like memory, in painting things continously slip and change.

Lucy Smallbone studied painting at City and Guilds, followed by a Masters in Fine Art at The Slade School of Fine Art, London. Her work has been presented at solo exhibitions at Fiomano Clase, London (2018 and 2021), HSBC, London (2018), and The Space Station Gallery, London (2017). Notable group exhibitions include ‘Wish You Were Here’, Tag Fine Art (2023), ‘A Slash of Blue’, Gerald Moore Gallery (2023), ‘Landscape Artist of the Year Exhibition’, Clarendon Fine Art (2018), and the Ingram Purchase Prize, Cello Factory, London (2018). She has also received notable scholarships and awards, including the Duveen Travel Prize to Chernobyl (2015), The Haworth Trust Award for Painting (2010) and The David Ballardie Travel Award (2009).

Lucy Smallbone was a finalist for the Young Masters Art Prize in 2023

Alastair Gordon

b. 1979, Scotland, UK

“I don’t seek a view but a sense of place. From here the paintings are developed in the studio to appear as drawing boards and sketchbook work. Oscillating between hyperrealism and intuitive gesture, they both tame and subsume to the wilderness itself.” - Alastair Gordon.

Alastair Gordon is best known for highly illusionistic paintings (rooted in the quodlibet tradition) but he combines his heightened sense of realism with historical notions of intuitive wildness and British wilderness painting. Gordon makes paintings about paintings; works that oscillate between artifact and artifice. We are presented with landscapes as still lives and sketches as completed works. Certain questions emerge about authenticity, the painting process and how we consider notions of landscape today. The veracity of the object is constantly in doubt yet the wild is ever calling.

In making his works Gordon travelled to the outer reaches of the British Isles, undertaking a painting pilgrimage from the heights of the Lake District, depths of Caithness peat flows and furthest reaches of the Outer Hebrides. Sitting atop mountain peaks and sinking into peat bogs each work begins in the landscape.

Alastair Gordon is a London based artist and tutor and a course leader for the Graduate Residency Scheme at Leith School of Art, Edinburgh. Last year, Alastair was artist in residency for City and Guilds of London Art School followed by a parallel residency with PADA Studios in Lisbon. He studied for a BA (Hons) in Fine Art Painting at Glasgow School of Art, graduating in 2002. He later studied MA in Fine Art at Wimbledon School of Art in 2012.

Alastair’s solo exhibitions include Quodlibet, Aleph Contemporary, UK (2021), Without Borders, Aleph Contemporary, UK, (2020). Alastair's first solo museum exhibition opens at An Lanntair Art Gallery, Stornoway, Isle of Lewis in late May 2024.

Notable group exhibitions include: LA Art Show, Cynthia Corbett Gallery, Los Angeles (2024), Art Miami, Cynthia Corbett Gallery, Miami (2023), British Art Fair, Cynthia Corbett Gallery, London (2023), Expo Chicago, Cynthia Corbett Gallery, Chicago (2023), Here After, Bridge Projects, Los Angeles, (2022), Unpacking Gainsborough, Cynthia Corbett Gallery, London (2021), The Long Echo, Terrace Gallery, London (2021), The Just, Aleph Contemporary London, (2020), The Collectors Room, JGM Gallery, London (2020), London Art Fair, Cynthia Corbett Gallery, London (2020), Summer / Winter Exhibition, Royal Academy, London (2020). In 2024, Alastair Gordon was featured in the 'Tales from the North: Contemporary Painting from the Glasgow School' Exhibition in Marylebone, alongside Elaine Woo MacGregor, showcasing works that explore the intersection of painting and narrative.

Alastair was the inaugural winner of the Shoosmiths Painting Prize in 2014 and co-recipient of the Dentons Art Prize. Gordon has been shortlisted for the Denton Art Prize, 2020.

Gordon’s work is found in numerous prominent private and public collections including Beth Rudin DeWoody, New York; Simmons and Simmons, London; Ahmanson Collection, Los Angeles; Landmark PLC, London; Bow Arts Trust, London; The Royal Bank of Scotland Collection, Rudolph Blume Foundation, Houston, Texas, and The Glasgow School of Art Alumni Collection.

Alastair Gordon is represented internationally by Cynthia Corbett Gallery.

Deborah Azzopardi

b. 1958, UK

America has Lichtenstein, we have Azzopardi!’ - Estelle Lovatt FRSA

Deborah Azzopardi acquired her worldwide fame for the joyous Pop Art images she has created over the past 39 years. Her unique and feminine take on contemporary art is best described by the esteemed art critic Estelle Lovatt: ‘America has Lichtenstein, we have Azzopardi!’ Lovatt goes on to comment: “Sometimes you just want to curl up under a blanket. With a good book. A piece of chocolate. A man. This is what Deborah Azzopardi’s pictures make me feel like doing. They are me. They remind me of the time I had a red convertible sports car. I had two, actually. And yes, they are you, too. You immediately, automatically, engage with the narrative of Azzopardi’s conversational visual humour. Laughter is the best aphrodisiac, as you know. ... There’s plenty of art historical references from... Manet’s suggestive ‘Olympia’; Boucher’s thought-provoking... ‘Louise O’Murphy’ and Fragonard’s frivolous, knickerless, ‘The Swing’.... Unique in approach, you easily recognise an Azzopardi picture. ... Working simple graphics and toned shading (for depth), the Pop Art line that Azzopardi sketches is different to Lichtenstein’s. Hers is more curvaceous. Feminine.”

The world is familiar with Azzopardi’s artworks, as many of them have been published internationally. Her original paintings, such as the Habitat ‘Dating’ series (2004/08), the iconic ...One Lump Or Two? (2014) and Love Is The Answer(2016), created by the artist at the request of Mitch and Janis Winehouse as a tribute to their daughter, are in great demand.

Deborah Azzopardi was awarded the Young Masters Focus On The Female Art Created During Lockdown Award 2021 for her work ‘Unabashed’.

Deborah Azzopardi is represented internationally by Cynthia Corbett Gallery.

Margo Selby

b. 1977, Eastbourne, UK

Selby is an artist and designer working with colour and geometric form in textiles. She makes handwoven artworks, and oversees the design work of the Margo Selby Studio for mill production and commercial textiles applications – her tenet being ‘Art Into Industry’ – an approach to making art that is akin to that of the ‘Old Masters’ and mistresses, with their expanded studios and public commissions.

Selby uses thread to create abstract geometric artworks that explore repetition and transition, symmetry and asymmetry, the dynamic and the stable. She is interested in the relationship between the body and the machine, hand and industry, craft and technology. The loom, and the disciplined nature of weaving as a practice, provides boundaries and constraints which can be tested. The orderly nature of the craft of weaving is reflected in the developing designs of the artworks. She is satisfied by rhythmic and uniform repetition – where each element of a composition is changed in a methodical progression.

With the exhibition of Cynthia Corbett Gallery and in cerebration of Collect's 20th Anniversary presented Moon Landing —a groundbreaking collaboration between Margo Selby and Helen Caddick debuting at Collect 2024. This project marks Margo Selby’s first site-specific installation, featuring an immersive, suspended handwoven textile alongside an original string composition by Helen Caddick. Set within the Stamp Stairwell at Somerset House, the approximately 16-meter handwoven piece invites visitors to ascend and descend the spiraling stairs, experiencing the evolving abstract colors that mirror the dynamic journey of the music. Margo and Helen's site-specific installation at Somerset House is a stunning fusion of weaving and music, meticulously designed to respond to the architecture of the Stamp Stair. The 16-meter handwoven textile cascades down the spiral staircase, drawing visitors into its intricate play of color, texture, and rhythm. As one ascends or descends, the shifting abstract blocks of color mirror the fluid journey of the music. Inspired by the connection between weaving, mathematics, and music, the collaboration delves into the shared numerical patterns across these art forms. The installation also pays tribute to the women who wove the circuits for the Apollo 11 Moon Landing, with fragments of Navajo and Huguenot weaving traditions woven into both the textile and the score. Complementing the experience, a process-led film and a recording of the music will be available, with live performances at key preview events, offering an immersive exploration of the parallels between sound and fabric.

Margo Selby studied at Chelsea College of Art & Design and the Royal College of Art in London, with a term at Atelier National d’Art in Paris. She now teaches in various institutions, and has her own studio weaving workshops. In 2020, Margo was the recipient of the Craft Council’s Collect Open Award for her large scale textiles installation Vexillum at Somerset House, and, in 2021, the bi-annual Turner Medal for ‘Britain’s Greatest Colorist’. She also gave the Turner Lecture, reflecting on her practice. 2022 saw her showing at multiple applied arts and craft fairs including Collect, London Craft Week, London Art Fair. In 2023, Selby exhibited at Art Miami, British Art Fair and Collect.

In 2024, Selby received several notable commissions. She was co-commissioned by The National Festival of Making and the British Textile Biennial to create a vibrant, celebratory textile installation, immersive in colour, form, and sound—designed to evoke joy and uplift. Situated in the North Transept of Blackburn Cathedral, this site-responsive sculpture reflected the flow of fabric through a factory, with waves and folds mirroring the movement of cloth through machinery. The suspended form began on the cathedral floor, rising to tower 9 metres into the vaulted ceiling, before gracefully descending back down.

As part of the London Design Festival 2024, Margo Selby's striking textile creations were included in the 'Living in a Material World' Exhibition at the Lyon & Turnbull London Gallery.

Margo Selby is represented internationally by Cynthia Corbett Gallery.

Elaine Woo Macgregor

b. 1981, Scotland, UK

"I am an expressive cross-cultural painter trained in the Glasgow School of Art 1999 - 2003. Rhythmic calligraphic brushstrokes, exacting moments of drawing, suggestive mark-making that bridges between figuration and abstraction, eclectic colour palette and painterly techniques of surface play all feature strongly in my work. My painted stories and memories are of people based on my personal experiences and experiences of others found in books, films, fashion and photography. Painting for me is a voyage of discovery and a sensation felt. I want my viewers to peer through layers of paint, dapples of colour and a smudge of a mark to enter an alternative reality." – Elaine Woo MacGregor

MacGregor’s artistry offers a unique perspective, encompassing a fusion of cultures. Through her eclectic use of mark making and imagery, she weaves together atmospheric and theatrical narratives. While her painted stories may often be fictitious, they are rooted in real people, places, and objects.

Elaine Woo MacGregor is a Scottish-born, Chinese artist who trained at the Glasgow School of Art. She graduated in 2003 with a bachelor’s degree with honours, acquired a studio and began working as a full-time artist.

MacGregor’s first solo exhibition was Portraits in Glasgow. Recent exhibitions include her solo exhibition Maman et Muses’ Patriothall Gallery, Edinburgh (2023), Art on a Postcard, Fitzrovia Gallery, London (2023), Women in Art Fair, Mall Galleries, London (2023), ING Discerning Eye, Mall Galleries, London (2023), Art Miami, USA (2023), Expo Chicago, USA (2023) Young Masters Autumn Exhibition, London (2022) and The British Art Fair, Saatchi Gallery, London (2022 & 2023). Notably, MacGregor was selected for Platform 2023 at the London Art Fair in Reframing the Muse, an exhibition curated by Ruth Millington, showing with The Cynthia Corbett Gallery.

In 2024, Elaine Woo MacGregor was featured in the 'Tales from the North: Contemporary Painting from the Glasgow School' Exhibition in Marylebone, alongside Alastair Gordon, showcasing works that explore the intersection of painting and narrative.

MacGregor's work has been critically recognised by virtue of the Dewar Arts Award, James Torrance Memorial Award, Hope Scott Trust Award and the Cross Trust Fund. In 2022, she was a finalist in the Jackson's Painting Prize, received the Art Paisley Prize for outstanding work, and Velvet Easel Award. In 2023, she was awarded the RSA Blackadder Houston Mid-Career Travel Award. She will be travelling to Hong Kong and Shanghai for art research in 2024.

Artist Residencies include Visiting Artist and Lecturer in Guizhou Art Academy, China in 2008, and Artist in Residence with Partial Fellowship Award in Vermont Studio Center, Johnson, USA in 2009. Woo MacGregor’s work is in British and international museum collections including Atkinson Art Gallery and Museum, UK, Art Gallery of South Australia, and 21C Museum and Hotel, USA, Rudolph Blume Foundation, Houston, Texas, and Didrichsen Art Museum, Helskinki, Finland.

Painting Audrey

"Over the past year Elaine Woo MacGregor has produced a series of paintings inspired by the life of the legendary Hollywood actress Audrey Hepburn whose career spanned the middle years of the 20th century. Can we therefore expect a nostalgic evocation of this particular period or perhaps a group of ultra glamorous portraits? Such notions are immediately dispelled on viewing the series which make a connection with Hepburn, but a connection filtered through MacGregor’s fertile imagination. The resulting paintings are far more than mere transcriptions of incidents in Hepburn’s life and most importantly, uniquely personal. There is no attempt to replicate Hepburn’s ‘look’, the gamin, whose eyes, voice and purity captivated film audiences around the world. We recognise the specific references and scenes from a life, but source material such as film sets and studios are transformed and take on new meanings. Glamour is usually something that separates us, but one feels instantly that MacGregor is drawn to the human side of Hepburn as opposed to the usual cliches surrounding movie stars. Not that she avoids romance or the exotic, but these exist as part of an overall conception that defines the series - a series that fascinates and intrigues by virtue of the quality of the paintings themselves.

"Although conceived as a sequence each painting has its own magical atmosphere. There is no sense of routine or of relying on formula - the artist is indeed on “a voyage of discovery” and a successful one at that. MacGregor’s use of colour throughout is highly individual - the juxtaposition of oranges and light greens for example, creates a special vibrancy and other adventurous colour combinations abound. Imagery is both subtle and strong while her calligraphic brush strokes convey a lightness of touch and an incisiveness of execution. The paintings are never overworked. One is always keenly aware of such crucial elements as transparency and space. MacGregor is now painting with a new authority and a boldness of approach that augers well for the future." - Alexander (Sandy) Moffat OBE RSA, Scottish painter, author and former Head of Painting and Printmaking at the Glasgow School of Art for 25 years.

Elaine Woo MacGregor is represented internationally by Cynthia Corbett Gallery.

Jemma Gowland

b. 1965, UK

Jemma Gowland’s work explores the way that girls are constrained from birth to conform to an appearance and code of behavior, to present a perfect face, and maintain the expectations of others. The use of porcelain, or of stoneware with layered disrupted surfaces, denote value yet describe the vulnerability beneath. Her most recent work draws on the traditional history of the figurine, from Meissen to the present; echoing the white unglazed finish with gold lustre. Current themes build on this tradition, with its symbolism of the female figure as ornament and object, to highlight issues of growing up female in the modern world. View a Catalogue of the new work.

Jemma Gowland trained for a BSc in Engineering Product Design, working in industrial design and architectural model making before becoming a teacher of Design and Technology, a career she followed for many years. Ceramics became first a hobby, and then a full-time occupation after leaving teaching in 2014. Her deepening interest in the immense possibilities of ceramics as a material led to further study, culminating in the City Lit Ceramics Diploma, London, graduating in 2019. Awards and exhibitions include: Royal Academy Summer Exhibition (2023), Royal Cambrian Academy of Art Open Exhibition (2023), Collect Open (2022), Bevere Graduate Award (2019-20), and Potclays student award, Art in Clay (2019). In 2024, Jemma’s work was featured in the Newstead Project, celebrating the Byron bicentenary at his home, Newstead Abbey in Nottinghamshire. That same year, she made her debut at Collect with the Cynthia Corbett Gallery and is set to showcase her work at the prestigious British Art Fair, marking another major milestone in her artistic career.

Jemma Gowland was Highly Commended for the Young Masters Emerging Woman Artist Award in 2023.

Saeri Seo

b. 1992, Korea

The ‘Moon Jar’ is a representative piece of Korean traditional pottery of the Joseon Dynasty that has contributed the elevating the reputation of Korean ceramics worldwide. Historically, the moon jar was associated only with male roles, as women were not allowed to produce or access the studio due to the belief that they brought bad luck. To overcome a childhood and adolescence coloured by this belief (and accompanying abuse), SaeRi began destroying her works to reveal her trauma, incorporating shapes from Korean representative ceramics as her cultural background influenced her mental struggles. By detonating the beautiful pottery, she stepped forward and started communicating with the world.

SaeRi Seo studied ceramics for her BA at Seoul Women’s University, and went on to complete a Masters in Ceramics and Makers at Cardiff Metropolitan University in 2022. Recent exhibitions and awards include: NAE Open 2023, New Art Exchange (2023), RBA Rising Stars Exhibition, The Royal Over-Seas League (2023), and nominated as a finalist for the BADA Art Award (2022).

SaeRi Seo was selected for Homo Faber 2024: The Journey of Life, coinciding with the Venice Biennale, further establishing her presence in the international art scene. SaeRi Seo made her debut at Collect with Cynthia Corbett Gallery in 2024 and will soon showcase her work at the prestigious British Art Fair later this year, marking another significant milestone in her artistic career.

SaeRi Seo was the winner of the Young Masters Emerging Woman Artist Award in 2023.

Nicole Etienne

b. 1974, Los Angeles, USA

US-born Nicole Etienne’s masterfully painted mixed media compositions fly across the canvas, exploding with vibrancy and sensuality. With a background in painting and photography, Etienne travels extensively, shooting the many elaborate and romantic settings that inspire her. She then manipulates her photography, tweaking each image to create a mystical entry point from which to continue her process. Once an image is printed, on either glitter or natural canvas, the real transformation begins. With thickly applied paint and other materials including gold leaf, glitter, even Swarovski crystals, Etienne adds powerful movement and extreme opulence to her base image, creating an intimate, unexpected moment in an extraordinary environment where anything is possible and the only limit is the imagination. Captivating us with dizzying skill and beauty, Etienne grants her audience full permission to dwell, delight and enjoy the fruits, flora and fauna of her exquisite labor.

Nicole Etienne’s work is in numerous public and private collections. She earned her MFA from the New York Academy of Art and her BFA from the University of California Santa Cruz. Solo exhibitions of her work have been mounted in New York, Aspen, London, Dublin, Tokyo, and Saint Barthélemy and she has been included in group shows and art fairs worldwide. Nicole currently resides in Los Angeles, having recently returned to the United Stated after several successful years working and exhibiting in the UK.

In 2024, we presented Nicole Etienne's work at the Citibank Curatorial Pavilion during the 29th edition of the LA Art Show at the LA Convention Center, where she also participated in the Talks Programme sponsored by Citibank, eloquently sharing her artistic vision and insights. Nicole makes her debut at the British Art Fair at the Saatchi Gallery with Cynthia Corbett Gallery in 2024.

Nicole Etienne's work was selected for the Young Masters Focus On The Female Curation in 2021.

Andy Burgess

b. 1969, London, UK

Innovative 'Hybrid' Screenprints: A Fusion of Modernist Architecture and Handcrafted Excellence debuting at British Art Fair

Burgess has a long history of printmaking, having completed postgraduate work at The London College of Printmaking and two residencies at the prestigious Tandem Press in Madison, Wisconsin, where he worked on woodcuts, etchings, and lithographs. Burgess’s prints are held in the collections of The Chazen Museum, Madison MOCA, The Jordan Schnitzer Family Foundation, and Delta Airlines, among others.

2024 sees the launch and debut of new 'hybrid' screenprints created by artist Andy Burgess in collaboration with the renowned London printmaking studio 'Jealous', known for their work with internationally acclaimed artists such as David Shrigley and Jake Chapman and collaborations with institutions such as The Tate Gallery and The Victoria and Albert Museum. In recent years, he has been searching for a way to translate his highly sought-after modernist architecture paintings and collages into 'multiples', while preserving the unique handmade quality of each artwork. With the 'hybrid' printmaking technique that Jealous Studio specializes in, this is now possible. Editions are limited to 15 prints of each image.

Andy Burgess is represented internationally by Cynthia Corbett Gallery.

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British Art Fair 2024