Shortlisted Works - Artists T-W

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Artists A-C   Artists D-H   Artists I-P   Artists R-S 

Sworders Art Prize Entries *

JacobTaylor Jacob Taylor *
Clippity Clop and Prycopin
Acrylic
120cm x 100cm
NFS

I have a deep emotional connection to this painting as it is a homage to my late friend and art mentor. This illustrates one of his playful stories of dancing horses and spiders. By juxtaposing the narrative in a chaotic yet melancholic manner also creating a moody and hostile atmosphere. The painting is almost a warlike scene. As it is a reflection of my emotions through a journey in mourning of the loss of my friend. How I painted to my ever-changing emotions and allowed them to embody the work.


Victoria Thomas Victoria Thomas
Serendipity
Oil on canvas
58cm x 41cm
£1,500

The female form has always interested me, exploring through canvas and particularly folds in drapery, the cascades of water-like tones express my journey through life. I’m passionate and obsessed with folds, reading Drawing the Draped Figure has enabled me to learn new ways of conveying meaning through objects, creating a narrative and an aesthetically pleasing piece of artwork. Oprah Winfrey once stated, "Passion is energy. Feel the power that comes from focusing on what excites you” so I’d like to apply this to my artwork. I’m also curious with Chiaroscuro, experimenting with tone to create intense and emotional images.


Rodney Tompson Rodney Tompson
Numinous
Print on Fuji Crystal Archive
50cm x 120cm
£250

I have been a lifelong photographer with an interest on work that steers towards the abstract. During my MA I engaged in several experiments, at the same time reflecting on the underlying presence of hidden forces. Dark matter, virus, and Hadron collisions. The nature of the random and the accidental influenced me, (Duchamp's/Mann Ray Dust Breeding) a prime source of my thinking. After an experiment with paper negatives in a primitive camera which wrecked on removal I observed that a state changed in them and on scanning them with a high resolution scanner revealed remarkable results. The choice of using a triptych format is to link the work to religious art practice and belief in the mysteries, in a way that reflects modern mysteries that defy comprehension, and that constantly lead to questions which ultimately cannot be answered. The panel could either be a forensic microscope slide or a vast section of the cosmos.


Mhairi Treharne Mhairi Treharne
Kneeling Aphrodite
Oil on wood, stitched with steel wire
37cm x 24.5cm
SOLD

The ancient Roman sculpture Kneeling Aphrodite reflects the kneeling protest spearheaded by Colin Kaepernick, the god of love kneels and watches us. The blue fabric that covers her mouth and surrounds her is covered with tiny particles to represent the virus. I am afraid of the virus and how it surrounds us, and learning to be an ally to the Black Lives Matter movement.


Alice Tyler Alice Tyler *
Tree at Helligan, Cornwall
Acrylic on wood panel
122cm x 82cm
SOLD

 


Peter Valori Peter Valori
Barstool Forms
Oil on board
23cm x 23cm
£350

 


Anastasia Vavilova Anastasia Vavilova
1984, Oceania
Drypoint etching
55cm x 41cm
£400

 


Anastasia VavilovaAnastasia Vavilova
1984, Thought Police
Drypoint etching
55cm x 41cm
£400

 


Anastasia VavilovaAnastasia Vavilova
1984, Ministry of Truth
Drypoint etching
55cm x 41cm
£400

 


Violet Von Riot Violet Von Riot
Wasp with a Thousand Faces
Collage
59cm x 42cm
£575

For this work I have used hundreds of torn or cut fragments of magazines. It is somehow sinister yet beautiful, a gritty reflection of our views on the wasp

 


Laura Wakeham Laura Wakeham
Paving Slab at Brooks, Winchester
Wax and acrylic on wooden board
65cm x 66cm x 5.5cm framed
SOLD

 


Charlotte Wallis Charlotte Wallis
My Best Friend, By The Fire On Her Narrow Boat
Graphite pencil on paper
28cm x 20cm
£1,500

The drawing is an intimate portrait of trusting friendship. It is a window into a personal and private world. The viewer is at eye level with the subject, who looks directly from her place on the floor with nothing to hide, while the outside world is shut outside of the frame. The basic strokes of the background reflect the simplicity of life on a narrow boat.

 


Emily Waterhouse Emily Waterhouse
Strange Times
Batik, paint and stitching on cotton
26cm x 26cm
SOLD

This piece is a batik ‘sketch’ of faces, looking out of windows, reflecting the time we have all spent inside our homes recently. I was inspired by news bulletins showing people in cities, living in flats and apartments who sang, clapped and communicated with each other from windows and balconies. It is worked in multi-media including wax, paint and machine stitching.

 


Lucy Wilson Lucy Wilson
Kate & Guitar
Pencil
47cm x 30cm
NFS

I’m interested in watching the focus of people as they do activities that take their full concentration. This is a study from life of my daughter Kate as she played the guitar.

 


 Ipshita Debnath Wittenkamp Meyer Ipshita Debnath Wittenkamp Meyer
Awaited Love
Digital painting
36.7cm x 34.2cm
SOLD

This digital painting depicts Shubho Drishti - an auspicious sight of love, which forms a quintessential part of Bengali weddings from the state of West Bengal in India. In this traditional ritual, the bride covers her face with betel leaves and moments before the garlands are exchanged, she lowers down the leaves and her eyes meet her husbands. It is the propitious sight, which is not only the contact between the eyes, but also the contact between two souls and the essence of true intimate bond between two partners.

 


Eleanor Wood Eleanor Wood
Realignments 2
Watercolour, waxed paper and oil on paper
357cm x 57cm
£1,450

Within my works on paper colour is applied in a highly diluted form in superimposed layers, each being allowed to dry before being overlaid by another. The colour is painted onto the back of the paper and, because of the highly absorbent nature of the particular paper used, it soaks through to appear on the front, forming a soft and blurred subtle edge around the central geometric form. The relationship between the front and back of the work is further established by scoured lines and by pinpricks, which are used in addition to pencil marks to demarcate and to divide.


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