Shortlisted Works - Artists A-C

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Artists D-H   Artists I-P   Artists R-S   Artists T-W

Sworders Art Prize Entries *

AbiOlaClaire-Anne Abi Ola *
Two Sisters
Oil, acrylic, oil stick and screen print on canvas
100cm x 100cm

This piece is of my grandmother and her friend when they were young. I purposefully did not paint their faces to represent that I do not personally know them as they passed away before I was born. Some of the patterns come from old family clothing and this represents what type of people they are. For example, the background pattern is from my father’s traditional dress. The pot on the left is from a sketch of West-African pottery from the British Museum.

SW Alexander GraceGrace Alexander *
Oil paint on MDF board
33cm x 50cm

A piece about self-image in the social media age, and the conflict between our external image and our internal image.

Felix AllenFelix Allen *
Oil on board
122cm x 67.5cm

A person and somebody they care about.

Guy AllenGuy Allen
Full Moon
57cm x 57cm framed

In March 2020, Guy settled into isolation in his Norfolk studio. He started to look at the moon.

‘We had such amazingly clear spring skies. I became fascinated by the moon. Away from the pressure of daily routine and commitments. I had time and space. It was so completely different. I suddenly had an opportunity to create a totally new piece of work. The moon became my subject.’

Allman ChristineChristine Allman
Egg tempera on gesso
18cm x 24cm

This work is derived from a sketch on the WInterton on the Norfolk coastline on a cold winter’s day in February. The remembered experience of the day and the resulting sketch provided a catalyst for imagination. My current work pivots between the viewed physical world of nature’s mystery and the evidence of human occupation. The multiple layering of translucent colour tone and texture and dreamlike quality of egg tempera enhance the creative process and imagination revealing the final image. I am led step by step along an unknown path eventually to produce something much greater than oneself.

Momina AnwarMomina Anwar *
Monochrome Daisies
Acrylic painting on board
59.4cm x 40cm

An acrylic painting on a wooden panel. The work is a still life which juxtaposes the means of a traditional Dutch vanitas painting.

Diana AshdownDiana Ashdown
Five Rows of Mostly Wild Small Things
Mixed technique print on eco print paper using plant material
35cm x 23.5cm

This print embraces the idea of collecting and preserving plant material, as the Victorian plant hunters were invested in, for me this evokes a memory of place and time. I printed this sun print onto my eco printed khadi paper, (eco printing uses the colour from plants), each print in this small run is unique. I have added text relating to the species of the flowers to in a sense ground them.

Barker KayKay Barker
Rock Surface I
Collagraph Print 1 of 1
52cm x 42cm

Inspired by my love of climbing I created this collagraph using a mixture of materials including torn paper, threads, gesso and sand. Giving a sense of depth and surface texture of the rocks.

Phil BarrettPhil Barrett
A Conversation in Wood
90cm x 30cm x 23cm

A Conversation in Wood is a wall mounted cabinet containing a number of small free-standing wooden pieces, one of a number of such Conversations, which are a dialogue with one another, and with the work of other 20th century artists, both living and dead. The cabinet is not simply a means of showing the pieces safely, for although I intend each piece to be interesting in its own right, they are not intended to be viewed separately, but as part of the work as a whole. The Conversation reflects upon the way the different internal pieces relate to one another and to the overall enclosed space. This requires the viewer to peer in at something they cannot entirely see or make sense of, heightening the sense of mystery, not unlike a Cabinet of Curiosities.

Keron Beattie Keron Beattie
Silver Medal
Found / recycled silver sheet and reworked silver coin on plywood support with frame
15cm x 21cm

I prefer to use found and recycled objects and these are generally worked by hand using traditional tools and techniques. I am also interested in understanding how traditional jewellery making materials, processes and forms can inform and influence my small sculptural works.


Keron Beattie Keron Beattie
Here Lies
Recycled and reworked lead and silver coin on plywood support with frame
15cm x 21cm

I prefer to use found and recycled objects and these are generally worked by hand using traditional tools and techniques. I am also interested in understanding how traditional jewellery making materials, processes and forms can inform and influence my small sculptural works.

Sean Bennet Sean Bennett 
Acrylic on wood panel
13cm x 13cm

The painting is based on my experiences of fishing the rivers of Cambridgeshire. The work based on actual and imagined places is an attempt to balance between figurative and abstract imagery.

Emma Blount Emma Blount
Goldfinch in Norfolk Road Verge
Glass-painted glass, framed with copper frame and copper wire attachments
30cm x 27cm

Glass that has been hand-painted using glass paints that are fired onto the glass in a kiln. This is the same method that has been used in stained glass windows since medieval times. Copper frame has copper wire decorations soldered onto the frame and a glass jewel.

Mary BlueMary Blue
The Beach is Made Up of Seashells Pounded into Smithereens by the Sea Over Millions of Years 
(Porthcurno, Cornwall)

Mixed media and acrylic on panel
19cm x 61cm

The waves continuously roll in, flinging themselves upon the shoreline. Sometimes they bring forth an extraordinary power, simultaneously destructive and life affirming. The more I look at the coastline, I now see how we come up against the forces of nature; things that humans can’t control that we have to give ourselves over to the power of wind, water and weather as the wilderness finds its own way. It is much closer to us than we think and we engage with it on unequal terms each and every day.

Bosc Marie HeleneMarie-Helene Bosc
Of Course! 
Acrylics on wood
54cm x 21cm


Sophie Botsford Sophie Botsford
Wandering Guinea Fowl
Oil on linen
40.5cm x 61cm

These inquisitive birds, with their distinctive feathers are the most beautiful subject to paint. Keeping the background subtle has allowed me to build up the layers of paint, adding texture and depth to each bird. Their separate personalities are enhanced by their positions and the use of shadowing makes it feel as though they could walk right off the canvas.

Ross Brooks Ross Brooks *
The Old Study
Acrylic paint
59.4cm x 84.1cm

The piece of artwork was inspired by focusing on light and dark as part of my 6th Form College final piece. The course work theme I chose was “worn out”, and the artwork was completed over a period of 2 -3 months from direct observation. I used the golden ratio/1:1.68 composition rule to form my painting. I was inspired to use items from around my home that caught my attention, and also individual items with an antique feel from college resources.

Ruth Bunnewell Ruth Bunnewell
Quieter than Usual
Oil on wood panel
60cm x 60cm

A conglomeration of 2 found images, one being a photo of the last building before the wilderness of the arctic circle region, the second being the buildings on the front of the local paper on the day that I was born. Both found images depict an empty snowy landscape, and the newspaper caption of ‘quieter than usual’ caught my attention, as I was an exceptionally quiet and painfully shy child. The 2 images drew me to them, and the painting is the result of combining elements from both, to create a real/semi real landscape.

Christy Burdock Christy Burdock
Artist with Birds
Acrylic on canvas
92cm x 60cm

A work responding to the Covid lockdown, and inspired by a portrait that Lucian Freud made of his first wife, Kathleen Garman, between 1947 and 1951.

Burgess JessJess Burgess
Taiki Tea-time
Oil, acrylic on linen
88cm x 88cm

A colourful, geometric painting depicting a model and still life, which bring traditional ideas of painting into a dialogue with our experiences of reading space and material in a world saturated with digital images



Safi Butler Safi Butler
Moon Bathing
15cm x 10cm

I originally made a piece called Sunbathing which depicted flowers through the window, symbolising how we all felt trapped indoors during lockdown. However, I wanted the work to convey more darkness, to show how some people have been affected emotionally during this time. The moon seemed the best way to do this, especially as cats and the night-time are intrinsically linked, with both bringing an air of mystique and magic. I was also inspired by my cat and the stretched out, lazy positions she gets herself into.

Lucia Calcagni Lucia Calcagni
Machu Picchu
Hard ground etching - edition of 6
48cm x 61cm


Cameron AnitaAnita Cameron
Alde Valley
Oil on canvas
80cm x 80cm

Daisy Campbell Daisy Campbell *
Digital painting
42cm x 59.4cm

This is a painting from life. It is a response to an investigation into the use of shadows to create a softened study; the composition is inspired by the vignettes and muted tones of early photography. It is digitally painted, but the process is informed by that of working physically with paint: it is painted from scratch, on a plain background, with tones build up layer by layer

David Cass David Cass
Forty Two Percent
Oil and varnishes on copper boiler
79cm x 70cm x 28cm

From the series Rising Horizon (exploring the topic of sea rise).

Joanna Cohn Joanna Cohn
Hard ground and aquatint on Somerset paper
50cm x 40cm

In this etching I enjoyed experimenting during the inking up process to play with light and shadow.

Collins DallasDallas Collins
Origami water balloons and coloured pastels
117cm x 117cm x 8cm

The human eye can see a set number of megapixels in one view point of 120 degrees. I used an image from NASA’s Ultra Deep Field (HUDF) project to pinpoint an object of dim light that's 800 million light years after the Big Bang. The picture is built up of 576 origami balloons, each one individually coloured. The intention is to visualise a moment in time that does not exist anymore. The image we see is a world of creation, a sublime mathematical anomaly that can only exist within our own perceived visual imagination. 

James Colman James Colman
Good Friday, Adirondak
30cm x 30cm


Kathryn Cooper Kathryn Cooper
Trails at Dusk
Limited edition of 24 prints on Hahnemühle Fine Art paper

40cm x 80cm

Each winter, starlings gather in their thousands by an area of reedbeds close to the Derbyshire village of Stoney Middleton. This was once a working village, home to many limestone quarries. With their closure, much of the site has been reclaimed by nature. I arrive at 3pm on a clear December evening and over the next 40 minutes, hundreds of thousands of starlings fly overhead. Most arrive in large flocks and then dive, chattering, into the reeds. These last few birds had been waiting in the large tree on the horizon and trickled in to roost as the sun set.

Emily CoCoulson Emily SW2ulson *
Mole Cottage II
Lino print edition of two
53cm x 38cm

Lino print of my father’s end terrace Edwardian cottage in North Norfolk. Titled Mole Cottage II as this is the second time I have carved the house, originally back in 2017, as one of my very first lino prints. Three years later and many, many more carvings later, this print, and its predecessor together show me how much my carving and printing has grown and changed. I plan to carve a new Mole Cottage every three years or
so, to see how my creative thinking regarding this same subject develops over time.

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