Lluís Barba

Barcelona, Spain

Lluís Barba constructs his huge photographs with minute attention to detail. During the last twenty years he has developed his distinctive iconography, each work including visual references as people, paintings and his own artworks are transferred to new compositions. Just as artists have for centuries teased their audience with allegory and symbolism, so Barba’s jigsaw of iconography presents a maze of allegorical pathways, the symbolism of the historical sources overlaid with that of the contemporary characters, reinforced by our own personal knowledge and experience and the gravitas afforded by column inches, art criticism and saleroom prices. In Barba’s work we can read the growth of celebrity currency, commentary on recent history and also his own personal reflections: like many historical artists, Barba’s work is also ultimately a giant autobiography. We see photographs of collectors or visitors gathered from trips to international art fairs, including images he has been asked to take by people viewing his own work; there are his motifs such as barcodes, imprinted on his characters; and the rainbows and flowers, his symbols of hope. Wry humour and ironic cross-references colour his visual commentary, as we are invited to navigate between images in the contemporary world, instantly recognisable art historical references and the ever-changing landscape of celebrity icons. When you stand in front of one of Barba’s enormous photographs you are literally in the space of the art as it spreads out before you, sometimes extending into the viewing space with flooring or sculptures spilling from the image.

Born in Spain and educated at the Escola Massana Centre d’Art, Barcelona, Barba has exhibited his work in the United States, Europe, Latin America and Canada. His work is held in major public collections and his private collections include, Jorge M. Pérez, Miami, Rick & Kathy Hilton, California and Wendy Fisher, London.

'Taste'

This series of ‘The Five Senses’ works was produced by Jan Brueghel with the collaboration of Peter Paul Rubens, responsible for the allegorical figures.

Brueghel made explicit reference to all the iconographic elements in this sense. I describe some examples of the work that I have intervened: In reinterpreting this 17th century work, I refer to the social parallelism that exists between the two speeds of the past and the present. In the background of the work, cherries that represent the mythological Mana fall from the sky. Emoticons wallpapering walls, with food from McDonalds, queues of emigrants to see if food arrives, to be able to eat, in contrast to the poverty of some and the opulence of others: politicians, famous chefs, singers, actors ...

Lluís Barba was one of the first finalists of the inaugural 2009 Young Masters Art Prize in London. The artist exhibited at the European Pavilion of the 2017 Venice Biennale.

Susanne Kamps

b. 1967, Munster, Germany.

“The paintings of Susanne Kamps are chromatic organisms, entirely of their own kind. On the one hand, they assert their obligation to tradition, on the other hand they celebrate individuality and boundless independence, as if they never heard of the great role models, they evoke…” - wrote one art critic, adding: “And the beholder, the more he or she tries to grasp the tension, experiences deja-vu - the ´aha´ effect. Who would not, while looking at the painting of Susanne Kamps, think of Matisse…” - and indeed, her painting Behind the screen, shortlisted for the 5th Edition of the Young Master Prize, pays homage to Matisse´s Intérieur aux aubergines (1911).

Here is the story of Susanne Kamps's tea paintings, as told by the artist: "I have several tea paintings. Fortnum & Mason is one of two twins born from an earlier still life called Smokey Earl Grey: this is the name of a tea flavour sold by Fortnum's which I love. Smokey Earl Grey is a table setting with a lot of grey walls in the background – made with some metal paint rollers I found in a flea market in Budapest (that’s another story). However, it is big, and many people do not want to buy big pieces. So, I focused on what was on the table – the cake stands, tea pots and cups – and the twins were born – Fortnum& Mason being the things on the left side of the table and the things on the right I called High Tea. All these paintings were done in 2017".

Susanne Kamps studied under the late Prof Herman-Josef Kuhna at the Academy of Art in Munster, Germany she also studied in London at Chelsea College of Arts where she mastered her portraiture techniques.

She works in Dusseldorf and has also worked in France during several extended stays in Paris (Cite des Arts) and at Roquebrune on the Cote d´Azur. She has also worked in Israel at the Ein Hod artists’ village.

Notable solo exhibitions include: “Let’s Travel More”, Galerie Hovestadt, Nottuln by Munster Germany (2023), “Under the Rooftops of Paris”, Kaktus Art Forum, Luedinghausen Castle (2022), and at Galerie Niepel bei Morawitz (2019).

Kamps notable group exhibition include: “Group exhibition of Artists” sponsored by CultureWithoutBorders, Nepal Academy of Fine Art, Kathmandu, Nepal (2023), “Dot, Dot, Dash ...,” Dusseldorf Artists' Association, Düsseldorf (2022), “A Belles Dents,” BienvenueArt, Paris, “Summer Show”, Cynthia Corbett Gallery, London (2023), “Focus on the Female,” London Art Fair, Cynthia Corbett Gallery (2022), “Pret a Montrer,” BienvenueArt, Paris (2022), “Fine Mix,” Mettmann Art House, Mettmann, Germany (2022).

In 2021 Kamps was awarded three-month Residence at Cité internationale des Arts in Paris.

Her paintings have been shown in Germany, France and Israel and are in several collections, including the German Re-Insurance Company, WGZ Bank and the Heuking, Kühn law firm.

Susanne Kamps was the recipient of the 2019 Young Masters Art Prize Highly Commended award.

Susanne Kamps is represented internationally by Cynthia Corbett Gallery.

Chelsea Kinch

b. Rhode Island, USA

“I make art to digest and make peace with the human experience. I use paint to explore profound emotions and my relationship to existing in a corporeal form. My work and process are inextricably linked to play and physicality – painting for me is like dancing and the more of my body that I can involve in the work, the more vital it feels. Nature, place, and environment are important influences on my work. I use my practice to fuse the internal and external landscapes that I feel torn between. They come together through color and gesture in a visual expression of the many facets of my experiences in this body, on this planet.” – Chelsea Kinch

Kinch’s paintings explore themes of disposability and ephemerality, especially as they relate to being a woman. For her, the process of painting is more than just that - it is an act of surrender, a catharsis, and a journey into herself. It is through painting that she lives.

Chelsea Kinch is an abstract painter based in Maui, Hawaii. She grew up in and out of Rhode Island School of Design (RISD) classrooms in her home state of Rhode Island after falling in love with oil painting at the age of ten. She did not pursue formal training in fine art, opting instead to study at the Fashion Institute of Technology in New York.

Kinch is a catalyst for her local arts community on Maui for her work to support emerging contemporary artists who operate outside of the tourist gaze. She opened a gallery in 2021 for this purpose and is also currently engaged in completing a public mural commission for a local institution.

Her solo shows include ‘Clean Sweep’, (2020), ‘Graceful Anger’, (2021), and ‘Moving In’, (2022). Additionally, her work has been acquired for an upcoming Showtime TV series and most recently featured in the Australian publication Monster Children.

Her work was most recently selected for the group show ‘Artists of Hawai’I’ (2023), the state’s longest running juried exhibition.

Kinch was selected for a scholarship by the European Cultural Academy to study in Venice in the summer of 2022.

Chelsea Kinch is represented internationally by Cynthia Corbett Gallery.

Deborah Azzopardi

b. 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.

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), 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 is represented internationally by Cynthia Corbett Gallery.

Deborah Azzopardi

b. 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.

Cristina Schek

b. Transylvania

Esteemed art critic Estelle Lovatt, FRSA, notes the departure from traditional representations in Cristina Schek's work: “Away from the worn-out out-of-date academic portrait of the female muse, Cristina Schek’s attention-grabbing images are inspired by literature and history. I marvel at her unique quirky portraits of modern life, in interiors brimming with warm comfy chintz and cosy furniture. But the real clout and muscle comes from the lone woman masked, in her flowing gown, inspiring powerful messages of caution for women today. Different to a man’s representation of the female, Schek inspires us to be the victor not the victim. As a woman, though the lens of her eye, she created a new, unique, visual language influencing and motivating us to be as progressive and visionary as we are. To be assertive, bold, self-assured powerful, and confident. To develop and enlarge our value(s). To think, feminist weight solid enough, in images not just of her, but of you and me, in Schek’s sumptuous, surrealistic, delightful imaginings.”

Cristina Schek is the photosensitive kind. She thinks in pictures; her imagination is always in focus. Unconventional in her approach, she sees the camera as a mere tool, allowing her imagination to take centre stage. She enjoys the freedom of layering and manipulating her photographs into creative montages, trusting her instinct for matching the raw material with subconscious musings. Often whimsical and a touch romantic, her photographs are given subtle alterations, resulting in carefully constructed compositions, which reveal the influence of the great Surrealists and Old Masters.

'Diving Upwards':
"Everything real begins with the fiction of what could be. Imagination is therefore the most potent force in the Universe. Imagination is 'Diving Upwards'! And you can get better at it. It's the one skill in life that benefits from ignoring what everyone else knows. Over the long term, the future is decided by optimists. To be an optimist you don’t have to ignore the multitude of problems that arise, you just have to 'Dive Upwards' and imagine how much your ability to solve problems improves." Cristina Schek

'The Woman Who Fell To Earth' is part of an ongoing series of self-portraits about Freedom. Freedom in its different guises. The freedom to step beyond the expectation and limitations that are imposed upon by yourself and others and move towards the things that hold meaning.

There are only two kinds of freedom in the world: the freedom of young age and the freedom of mature age. We're often led to believe the notion that aging is somehow a betrayal of our idealistic younger selves. However, it might be a reversal of roles. The younger self, lacking awareness of its true potential, struggles to embody it fully. The younger self finds it difficult to inhabit its true potential because it has no idea of what that potential is. In many ways, it exists as an unformed thing, constantly evading its own grasp, and frantically trying to build its sense of itself, a coherent sense of identity. Yet, time and the ceaseless flow of life come along and shatter our carefully constructed sense of self into myriad fragments. What follows is the reconstruction of the self, the reassembled self, the self you have to put back together, no longer burdened by discovering what you are. You are free to be whatever you want to be, unimpeded by the incessant needs of others. Gradually, you grow into the form of your humanity, forging your own distinct character and evolving into a complete individual. Someone who has become a part of things, not someone separated from, or at odds with the world. You age. You age embracing the fullness of freedom, the freedom that allows all freedoms to exist." Cristina Schek

Press: 'Fern Girl' featured in Widewalls Magazine
Cristina Schek Winner of W4th Plinth Unveiled by Dame Siân Phillips

Cristina Schek was awarded the Young Masters Focus On The Female Art Award Created During Lockdown 2021 for her work 'Florence Lightingale'.

Cristina Schek is represented internationally by Cynthia Corbett Gallery.

Klari Reis

b.USA

Klari Reis has invented her own medium, using epoxy polymer (a form of liquid plastic) with many added ingredients including pure pigment, acrylic and secrets. Reis’s design is almost otherworldly, her colours unique and her patterns inventive. Her artwork is both object and fine art and she is at the forefront of innovative use of art resources.

Klari Reis’ new works are imaginative recreations and curious playful inquiries into our place in the world. The artist proposes new ways
of seeing and understanding our natural environment through painting and sculpture, testing the boundaries of logical systems. By considering the contradictory implications of the word natural and exploring the relationships between the human and non-human, Klari embraces possibility through work that is joyful and hopeful.

Klari Reis is an American artist with a Master of Fine Arts (2004) and an Associate Research Fellowship (2005) from the City and Guilds of London Art School. She lives and works in San Francisco and is represented internationally by Cynthia Corbett Gallery.

Klari Reis is represented internationally by Cynthia Corbett Gallery.

Crystal Latimer

b. 1988, Hollywood, USA.

“In 2020, I introduced vintage cowboy imagery into my work without fully realizing where my curiosities were rooted. However, this led to creating drawn tapestries composed of vintage cowgirls, cheetahs, florals and plants. An intriguingly odd assortment and definitely NOT AN AMERICAN WESTERN. Rather, I’m alluding to an idea of allowing ourselves, as females, to become untamed. There is such an abundance of breeding within feminine culture; we’ve become accustomed to holding back, playing the supporting roles in history. Our very essence can become erased. Yet, there’s an attitude when it comes to cowboy imagery, a bravado and cavalier connotation that I want to reclaim as female, while cheetahs tie to the idea of being untamed (and nod to the novel by Glennon Doyle). The format of a tapestry also interests me as an allegorical conduit, as it’s historical background is based in “female” and “craft”. - Crystal Latimer

In 2010, Crystal completed her BFA Slippery Rock University and received an MA and MFA from Indiana University of Pennsylvania in 2013 and 2016, respectively. After graduating, Crystal taught several courses at Penn State University and Indiana University and has lectured at Slippery Rock University and Carlow University.

Latimer's work has been shown extensively in both solo and group exhibitions, including at Collect Art Fair, Art Miami, the Pittsburgh International Airport, Pittsburgh Cultural Trust, Pittsburgh Center for the Arts, Chautauqua Institution, The Mine Factory, George Washington University, and Union Hall among others.

Latimer has shown her work internationally in Hong Kong and London and participated in a residency at the Joaquin Chaverri Fabrica de Carretas in Sarchi, Costa Rica. Crystal's work has been featured in Create!, Pikchur, Local Arts PGH, Art Maze, Ruminate, and Fresh Paint Magazines.

Crystal work is included in both private and public collections nationally and internationally: including Indiana State University of Pennsylvania, PNC Corporate, the Benter Foundation, and Wyndham Tryp Hotel.

Crystal Latimer was a finalist for the Young Masters Art Prize in 2019.

Carry On Creativity: A Series of Interviews with Young Masters' Artists: Crystal Latimer

Crystal Latimer 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.

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 Colourist’. 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.

Margo Selby is represented internationally by Cynthia Corbett Gallery

Andy Burgess

b. London, UK

Lauded by Annabel Sampson, Deputy Editor of Tatler as “the next David Hockney” painter Andy Burgess, who hails from London but lives in Arizona, continues to expand upon his fascination with contemporary architecture. A new series of paintings on panel and canvas colourfully re-imagines iconic modernist and contemporary houses. Burgess selects the subjects for his paintings with the discernment of the portrait painter. Buildings are chosen for their clean lines, bold geometric design, and dynamic forms. Burgess approaches his subjects with a fresh eye, simplifying and abstracting forms even further and inventing, somewhat irreverently, new colour schemes that expand the modernist lexicon beyond the minimalist white palette and rigid use of primary colours. Real places are sometimes re-invented, the architecture and design altered and modified, with new furniture and landscaping and a theatrical lighting that invests the painted scene with a dream-like quality and a peaceful and seductive allure.

Burgess explores in depth the genesis of modern architecture in Europe and the US and its relationship to modern art, avant-garde design, and abstract painting. Burgess explains his fascination with modernist architecture thusly:

‘Despite the huge impact of early modern architecture, the innovative and subtle minimalist buildings that I am researching, with their concrete and steel frames, flat roofs, and glass walls, never became the dominant mode of twentieth century building. We have continued to build the vast majority of houses in a traditional and conservative idiom, so that these great examples of modern architecture, designed by the likes of Gropius, Loos and Breuer to name but a few, are still shocking and surprising today in their boldness and modernity, almost a hundred years after they were built.’

Alongside the large-scale paintings, Burgess creates collages which reflect his love of vintage graphics, particularly those from the 1930s–50s, a “golden age” in American graphic design and advertising. Burgess has been collecting vintage American ephemera for many years; this ephemera is then unapologetically deconstructed, cut up into tiny pieces and reconstructed into visual and verbal poems, dazzling multi-coloured pop art pieces, and constructed cityscapes.

Andy Burgess’s latest work combines two of his greatest artistic passions, mid-century and modernist architecture, and collage. In this new series of highly intricate pieces, Burgess has used hand painted paper to construct renditions of his favorite modern architecture. Replacing acrylic paint with gorgeous permanent inks he has introduced another level of textural interest. The ink adds a beautiful translucency and wash-like textures to the surface of the image…. making the finished work somewhat tapestry and mosaic like. The pleasure of these works lies in the complex shapes, the analogue quality of the fabrication and the sparkling crystalline colors. Those familiar with his work will recognize some of the iconic subject matter such as Frank Lloyd Wright’s wonderful Guggenheim Museum and famous Fallingwater residence as well as Los Angeles classics such as The Stahl House and other desert modern masterpieces. But there is an eclectic range of architectural subjects that spans decades and continents in a quest to do justice to the architecture of modern times!

Burgess has completed many important commissions for public and private institutions including Crossrail (London’s largest ever engineering project), Cunard, APL shipping, Mandarin Oriental Hotels, a new medical centre in San Jose, California and most recently, Neonatal Intensive Care Unit (NICU) at Chelsea and Westminster Hospital in London.

In 2021 Andy Burgess started creating a series of site-specific artworks for the Neonatal Intensive Care Unit (NICU) at Chelsea and Westminster Hospital in London. The project, initiated by CW+ – the official charity of the Chelsea and Westminster Hospital NHS Foundation Trust – and facilitated by Cynthia Corbett Gallery, which represents Burgess internationally, aims to improve and enhance the NICU environment for patients, relatives and staff.

Working together with the NICU team, Burgess was reminiscing on the hospital’s neighbourhoods and its iconic views, sights and buildings in collaboration with hospital staff. Known for his unique, abstract and colourful style, Andy has transformed selected London scenes into incredible artworks to create a warm and welcoming environment for both parents and staff to enjoy. The display, installed on the 16th June 2022, includes a panorama of London, an image of Albert Bridge and another of a London Underground station. Additionally, Andy produced two smaller scale abstract pieces developed from the colour palettes of his larger works, which were gifted as part of the commission. CW+ also acquired two existing works by Andy for the unit through Cynthia Corbett Gallery.

Burgess’s collectors include the Booker prize-winning author Kazuo Ishiguro, actor and writer Emma Thompson, the Tisch family in New York, Beth De Woody, Board Member of The Whitney Museum and Richard and Ellen Sandor in Chicago, who have one of the top 100 art collections in America.

In March 2023, Burgess publicated of a new limited edition book of abstract ink on paper collages called Tiger’s Eye in conjunction with an exhibition at Laughlin Mercantile in Tucson, Arizona and the release of four luxurious silk scarf designs based on the collages.

Andy Burgess has been represented internationally by Cynthia Corbett Gallery since 2004.

Isabelle Van Zeijl

b.1980, Netherlands

In a contemporary art world that condemns beauty as camouflage for conceptual shallowness, championing high aesthetics is nothing short of rebellion. Dutch photographer Isabelle Van Zeijl takes female beauty ideals from the past, and sabotages them in the context of today. As a women she experiences prejudices against women; misogyny in numerous ways including sex discrimination, belittling/violence against women and sexual objectification. Van Zeijl aestheticises these prejudices in her work to visually discuss this troubling dichotomy, presenting a new way of seeing female beauty. An oppressive idealisation of beauty is tackled in her work through unique female character and emotion.

Van Zeijl is invested in her images. By using subjects that intrigue and evoke emotion, she reinvents herself over and over and has created a body of work to illustrate these autobiographical narratives. Her work takes from all she experiences in life - she is both model, creator, object and subject. Going beyond the realm of individual expression, so common in the genre of self-portraiture, she strives to be both universal and timeless.

Isabelle Van Zeijl, born and based in the Netherlands is an internationally acclaimed Fine Art Photographer. She was nominated for the Prix De La Photographie Paris, The Fine Art Photography Awards and was one of the winners of The Young Masters 2017 Emerging Woman Art Prize, London. Her work is held in prominent private & public collections in the USA, Europe, UK, Australia and Asia.

Isabelle Van Zeijl is represented internationally by Cynthia Corbett Gallery and was the winner of the Young Masters Emerging Woman Art Prize in 2017.

Fabiano Parisi

b. 1977, Rome, Italy

“I use only natural light and execute my shootings early in the morning. The colours and chiaroscuro are at their best at this time of day and are left untouched by digital image manipulation software.” - Fabiano Parisi.

Parisi’s photographs have an honesty and integrity that is part of what makes them so inviting. The artist often selects buildings with frescoed walls, which create an illusion of a painterly surface in his photographs and a textural sensibility that belies the photograph’s flat surface. His method highlights the patina of these forgotten places.

The artist prints his work himself onto carefully chosen papers that enhance and maximise his colours and tones. Parisi has a strong relationship to Art History; the subject of the ruin was prevalent in the 18th and 19th Centuries, and interest is still strong today as evidenced by Tate Britain’s 2014 exhibition ‘Ruin Lust’. From painters such as Piranesi to Turner to Constable, Parisi is part of an important genre in art.

Fabiano Parisi began his career as a photographer following a degree in Psychology, coming to photography through a project photographing derelict asylums, which sparked his interest in the abandoned buildings which are the subject of his art practice today.

He has two ongoing series: The Empire of Light and Il Mondo Che Non Vedo (The World I Do Not See). The latter title is taken from a collection of poems by Fernando Pessoa, a hint at the poetic qualities of Parisi’s work.

What is so striking about Parisi’s work is his use of light, his relationship not just to history but to the theme of the ruin in Art History, and the composition and surface of his work. The power of Parisi’s work lies in the strength and command of his image-making, never straying from a strictly symmetrical approach, which allows the viewer to assume his viewpoint within the building, the wide-angle lens giving a sense of depth and breadth, without compromising on detail.

Parisi participated in the 54th Venice Biennale, Italian Pavilion and in Fotografia Festival Internazionale di Roma in 2012 at the Macro Museum.

In 2010 he was the winner of the Celeste Prize International for photography in New York; in 2012 he was shortlist for the Arte Laguna Prize, Venice where he was awarded a special Prize and in 2012 & 2014 he was shortlisted & announced finalist for the Young Masters Art Prize (a not-for-profit initiative presented by The Cynthia Corbett Gallery, London).

Fabiano Parisi was a finalist for the Young Masters Art Prize in 2012 and 2014.

Fabiano Parisi is represented internationally by Cynthia Corbett Gallery.

Elaine Woo MacGregor

b. 1981, 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 features 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 trained in the Glasgow School of Art. She graduated 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 & 2024), LA Art Show, USA (2024), 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.

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 and Didrichsen Art Museum, Finland.

Press: Elaine Woo MacGregor Showcases Her Dramatic Figurative Paintings at Los Angeles Art Show 2024

Artmag Feature: From the Shadow of the Wind to the Windy City: Elaine Woo Macgregor at Chicago Art Fair 2023

Elaine Woo MacGregor is represented internationally by Cynthia Corbett Gallery.

Miles Regis

b.1967, San Fernando, Trinidad

In the life and studio of LA-based, Trinidad-born artist Miles Regis, every action is an opportunity for creative self-expression. Prolific in both fine art and fashion design, Regis freely swaps the materials and languages of each to enrich the other. His large-scale mixed media paintings on canvas and linen incorporate dimensional collage elements of denim, buttons, leather, printed matter, sequins, and patches of eclectically sourced found textiles along with his dexterous, gestural, richly hued abstract and figurative painting techniques. Aggressively hopeful and humanistic, Regis embraces a storytelling stance in his stylized renditions of fundamental scenes of love, loss, freedom, survival, activism, and living history.

Tapping into the emotional experiences of exotic cultures around the world and presenting them in ways that are relevant to today’s modernized societies, Regis favors the simplicity of black and white structure, starkly juxtaposed with the complex dimensions of color; recurring motifs include his use of eyes, encouraging the viewer to look deeper. His paintings are often layered with vibrant hues, powerful imagery, text, abstract brush strokes, and purposeful objects the same eye-catching iconography and palette which also appear in his original wearable art. Hand-painted by the artist, each garment highlights a delicately detailed working of both surface and narrative, in the same process that expresses the personal and collective mythologies enshrined in his art works.

During the summer of 2017 Regis made his first foray into the word of artisanal perfume, creating an original series of signature scents developed during a month-long art-and-fashion residency at LA’s Institute for Art and Olfaction. Regis has also been delving into new technologies as an early adopter of the emerging realm of Virtual Reality as a fine art application. One of the main elements in constructing inter dimensional visual worlds based on his art is a painstaking process building the compositional structure layer by layer -- a technique ideally suited to Regis’ established language of painting. The results, which he sometimes pairs with his own original auric electronic beats, are kinetic, vibrating, seductive travels in AbEx hyperspace, and all on their own make the case for VR as a proper tool for all kinds of artists.

Regis and his art was featured in a Ford F-150 Truck national TV commercial in January 2021 and his 15 foot painted art sculpture is now in the permanent collection of the Ford Motor company.

Regis is in the permanent collection of Intel Corporation, Smithsonian National Museum of African American History and Culture, California African American Museum, PAMA in Canada and Senegal's La Musee Borindar; and has appeared in association with CNN, Art Basel Miami, The Coachella Music and Art Festival, CCH Pounder, Million Dollar Listing, Volcom, American Rag Cie, Art For Amnesty, Campaign for Black Male Achievement, Manifest Justice, Adobe, and Tonny Sorenson. Regis has exhibited at Art Basel Miami and The Coachella Arts And Music Festival and has been featured on CNN, Forbes Magazine, The Huffington Post, Extra TV and Ebony Magazine.

PRESS: California Home Design - Artist Crush: Miles Regis

Miles Regis Debut At Art Miami 2023

Matt Smith

b.1971, Cambridgeshire, UK

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.

Trouble With History

The work is created from a found, vintage, needlepoint which is unpicked and restitched by the artist. Based on paintings by known male artists, the needlepoints were originally produced for amateur, anonymous sewers to stitch. Idealised figures are presented in bucolic settings, their faces replaced by the artist with neutral repeating patterns which disturb the working of the image. By interrupting without substituting a definitive alternative narrative, the work leaves the reinterpretation open for the viewer, questioning the heterosexual constraints of such imagery and prompting a re-consideration of the sitters' skin colour and identity and questioning the viewer’s complacent acceptance of such imagery. Works from the series are held by the V&A, the Crafts Council, Brighton Museum and the National Museum of Northern Ireland.

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.

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

Amy Jayne Hughes

b. 1985, Dewsbury, UK.

“Amy Jayne Hughes reinterprets historical vase designs while nodding at the original aesthetic yet leaving space for the clay.

“Hughes’ vases resemble pixelated images of historic vases; they are sketched from the old but resemble nothing of the past - they occupy a place entirely of their own. Hughes’ blind contour drawing technique captures the object's essence while acknowledging the clay material and her role in the reinterpretation: Fingerprints left in the clay and drawn upon cardboard-like pieces stuck to the vase trace Hughes’ artistic process. The play is consciously left visible.

“Hughes’ work is both a celebration of our ceramic past and reclaiming space for clay.” - Jesper Nøddeskov, Homo Faber Guide.

Amy Jayne Hughes is a Ceramicist, a clay purist and enthusiast. She adores working with her medium and the possibilities that it allows. Primarily a hand builder in her practice, Hughes enjoys combining traditional making techniques and exploring form and decoration and establishing dialogues between the two. Working with an awareness of clay, she feels it is important to leave traces of material identity on a piece to celebrate the uniqueness of it and the wonderfully idiosyncratic ways in which it behaves, highlighting and drawing attention to rather than covering over. This allows for brushstrokes and dribbles of slip, raw cut and torn edges, exposed joints and considered application of glaze.

Taking inspiration from historically significant ceramic objects and collections, Hughes strives to reference the originals whilst reinterpreting and reinventing, to make them more accessible and breathe a fresh life into them. Working with a cultural awareness, Hughes seeks to take such pieces to new audiences and find a place in contemporary culture for them. Sources for her recent ceramic explorations include Grecian, Islamic and 18th century French Porcelain.

Hughes loves to draw and her collections often involve exploring different methods of interpreting her drawings into clay. Most recently, taking a collage-like approach, Hughes uses enlarged elements of her sketches, tracing them directly onto her clay surfaces in decorating slip and attaching them onto her coil and slab-built forms, creating exciting patterns and shapes and working with a colourful and lively painterly approach. The making process informs the composition, not knowing how the final piece may look.

Amy Jayne Hughes studied MA Ceramics & Glass at Royal College of Art, London, 2008-2010 and BA Ceramics at Loughborough University, 2004-2007. She also won the City and Guilds Life Drawing Award.

Notable solo exhibitions include: ‘Garniture’ Croome Court, Worcester, Arts Council England funded (2018), and ‘Vase & Cover’ Room 141, V&A Museum, London Design Festival (2018). Hughes’ notable group exhibitions include: Art Miami, Cynthia Corbett Gallery (2022-23), COLLECT, Cynthia Corbett Gallery, Somerset House (2021-23), British Art Fair, Cynthia Corbett Gallery (2022-23), London Art Fair, Cynthia Corbett Gallery (2022), ‘Piranesi 300: A Visionary Revisited’ Dublin Castle & the Casino at Marino, Dublin (2022), ‘Leach 100’ The Leach Pottery, St Ives (2022), ‘Artefact’, Vessel Gallery (2021), ‘Out Of the Blue’ 50 Years of Designers Guild, The Fashion and Textile Museum, London (2020), COLLECT, Vessel Gallery (2019), ‘Renewed Past’ CODA Museum, Netherlands (2016), ‘AWARD’, British Ceramics Biennial (2015), and 'SWEET 18’, Castle of Hingene, Belgium (2015).

Hughes has been nominated for many prestigious awards and prizes. She was a shortlisted Artist for the Brookfield Properties Craft Award (2023); nominated for the Perrier-Jouët Arts Salon Prize by Barney Hare Duke (2016); shortlisted for the Young Masters Maylis Grand Ceramics Prize, (2014); shortlisted for the Constance Fairness Foundation Award, December (2011); awarded the Anglo-Swedish Scholarship Bursary (2010); and selected to represent the UK in ‘New Talent’ at the European Ceramic Context, Denmark (2014). Hughes was also winner of Best Community Public Art 2013 project with Pump House Gallery for ‘Imaginariums’

Hughes has undertaken residencies in the UK and Internationally including: V&A Ceramics & Industry Artist in Residence in collaboration with 1882Ltd (April – September 2015); Siobhan Davies Dance Studio with Manifold Studio, (July – September 2013); Anglo-Swedish Scholarship Exchange, Konstfack School, Stockholm (January – April 2011)

Hughes’ work has been featured in Ceramic Review, ‘A Modern Decadence’, CR 309, Annie La Santo (2021); ‘Encore! The New Artisans’, Olivier Dupon, Thames & Hudson, (2015); ‘Collectives: The Model for Success’, Edith Garcia, Ceramics Monthly, (2020); ‘Studio Ceramics’, Alun Graves (2023); ‘Getting to know Amy Hughes’, India Miller, FAIRE Magazine (2023). Hughes was recently included in the Homo Faber Guide of Artisans and Master Craftsmen, curated by The Michelangelo Foundation (2023).

Hughes’ work has been acquired internationally. Collections include: Hendelsbanken, Sweden (2011), ‘Tryst’, V&A permanent collection (2016), and Private Collections in USA, UK, France, Sweden, and Netherlands.

Amy Jayne Hughes is represented internationally by Cynthia Corbett Gallery.

Palm Beach Modern + Contemporary 2024