Shortlisted Works - Artists D-H

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Artists A-C   Artists I-P   Artists R-S   Artists T-W

Sworders Art Prize Entries *

Sam David Herrera Sam David Herrera
Samantha
Painting
25cm x 30cm
£200

A portrait of Samantha Bryan, the illegitimate daughter of killer Ian Huntly, on a bright, forest and blue sky background.


Joe Delaney Joe Delaney *
Summer at Home
Oil and acrylic on MDF board
21cm x 26cm
NFS

A landscape I painted at the start of summer, I wanted to capture the organic flowing forms of the British countryside.


Zelda Eady Zelda Eady
Daffodil Meander – Farndale
Mixed media
44cm x 94cm
£450

Inspired by The Daffodil Walk at Farndale, Yorkshire this piece is created on a musical stave uses the rhythm of the trees and stream to create a visual music. This is an acrylic painting collaged with Wordsworth poem in text and music.


Adrian Eckersley Adrian Eckersley
We Are Watching Over You #2
Oil on plywood panel
64cm x 104cm
Red Dot


Celia Ellis Celia Ellis *
Trouble in Paradise
Oil on canvas
45.72cm x 60.96cm
£875

Trouble in Paradise is a landscape painting produced as part of my investigation into the parallels between John Milton’s Paradise Lost and the ongoing situation of Brexit; looking at them both as a fall from grace. I took inspiration from Dutch Golden Age painters such as Claude Lorraine utilising symbolism through the incorporation of crows, representing impending doom within a utopian landscape.

 


Lucian Eyers Lucian Eyers
Primary Paradise – Homage to Chardin
Oil on oak panel
48.8cm x 29.8cm
NFS

Jewels of colour bursting from the darkness – this is Chardin. My composition and use of fruit with a solitary glass is indicative of him. In my homage I was interested in his obvious use of the primaries. Chardin’s objects have an ethereal quality and in my interpretation, the grid work of dots has allowed only small fragments of the object to be shown. No longer are they solid, but radiate as spirit.


Caroline Forward Caroline Forward
Markers
Mixed media
30cm x 30cm
Red Dot

 


Harriet Foster-Clarke Harriet Foster-Clarke *
Metamorphosis
Photography
57.1cm x 81cm
Red Dot

For this photograph I wanted to parallel the lives of butterflies with society. Butterflies only live for a few days which is a small proportion of their life however this is when they are considered most desirable. This is similar to society’s views on beauty standards of women as only for a short amount of time women are considered desirable. The cocoon symbolises not only constraints of modern expectations but also COVID 19.The figure is covered which makes it difficult for the viewer to connect with the subject which further reflects feelings of disassociation and absence..


Rebecca Foster-Clarke Rebecca Foster-Clarke *
Memento
Oil on wood
51cm x 40.7cm
NFS



Susan Fraser Susan Fraser
Museum Pieces
Acrylic on canvas
43.6cm x 53.8cm
NFS

This is part of a series of paintings I am currently working on, on the theme of memory. It was inspired by my former career as a museum curator, and includes items from the collections I cared for. I hope it might inspire thoughts of how objects can help us to remember their original makers and owners, and to celebrate and understand their lives, whilst reflecting on changes in human culture and values over the centuries.


Femke Freeman Femke Freeman *
Indigo
Indigo fabric, denim, high flow acrylic, canvas, hot glue gun
49cm x 40cm
NFS

This piece is inspired by the colour Indigo and how it is such a versatile colour and has a deep history in the art world.


Nick Gear Nick Gear
Yellow Circle
[With Time – after Pousette-Dart]

Plaster block with oak gall ink and watercolour
38.5cm x 38.5cm
£440

Using the materiality of the environments I’ve walked, handmade oak gall ink along with watercolour paint, has transformed as if by alchemy the surface of a plaster block. Plaster because it can be incised, as if harrowing a track, and become an indexical record of the theatre of memory, a performance, the ritual of making. Plaster because it links to the work of Whiteread, Hepworth and Moore. The work straddles the disciplines of sculpture, drawing, painting considering like the artist Pousette-Dart the notions of the circle as absolute truth, wholeness, which I experience when engaging with landscape.


NickGear Nick Gear
Black Circle
[With Time – after Pousette-Dart]

Plaster block with oak gall ink and watercolour
38.5cm x 38.5cm 
£440

Using the materiality of the environments I’ve walked, handmade oak gall ink along with watercolour paint, has transformed as if by alchemy the surface of a plaster block. Plaster because it can be incised, as if harrowing a track, and become an indexical record of the theatre of memory, a performance, the ritual of making. Plaster because it links to the work of Whiteread, Hepworth and Moore. The work straddles the disciplines of sculpture, drawing, painting considering like the artist Pousette-Dart the notions of the circle as absolute truth, wholeness, which I experience when engaging with landscape.


Sophie Giller Sophie Giller
This Way Up
Textiles, wool, thread, wood
Wooden frame 83cm x 36cm, fabric trails under piece to 124cm
£150

A woven textile piece that hangs on the wall. A mixture of woven wool and fabrics on a handmade wooden loom frame.


Lyndsey Lyndsey Glassett
He wishes for the cloths of Heaven
Mixed media
32cm x 56cm
NFS


Stacey Gledhill Stacey Gledhill
Together Alone
Oil on linen
60cm x 80cm
NFS

My work is inspired by moments in my own life. After months of isolation in our small house, my partner and I ironically began to feel the need for alone time. We came to the unspoken arrangement to begin sleeping top and tail, and we did this for several weeks. This work was ultimately about capturing the poignancy of life in lockdown.


Laura GLaura Goodman oodman *
Fields of Poison
Photo-Polymer Plate
10cm x 17cm
£350

This work is my response to lockdown and represents a vast, silent, isolated East Anglian landscape constricted into a small form. I have used a photo-polymer plate which results in a tactile, material based work from the reflective nature of the metal plate. It is very light dependant with silence in the shadows. The metal consumes the details of the image through the process, which disappears, with the memory over time. The fields grow wheat which as a life-long Coeliac represent poison to me, making me ill, a theme picked up in the haunting darkness of the image.

 


Linda Gower Linda Gower
Gothic Ribblehead Viaduct|
Photography
29cm x 20cm
Red Dot

I have tried to make a ‘straight’ photograph look more painterly by combining two images.


Rosie Greenhalgh Rosie Greenhalgh
Diamond Road Bakery NR6 6AN
Acrylic on canvas
50cm x 60cm
£900

These silos were the remaining legacy of a once large and thriving bakery on an industrial estate in Norwich. However huge production plants, with established practices of working couldn’t respond quickly enough to meet the needs of consumers tempted by supermarket fresh bread bakeries and the emergence of local artisan bakers. The road and very foundations seem to collapse as paint drips down the canvas, into an empty white void undermining the foundations of an industry now lost.


Kamile Gudleike K K Creative
Lucky Clover
Mixed media, silk paint, fabric embroidery
25cm x 25cm
£150



Georgina Gurney Georgina Gurney
Lisa - Autumn Afternoon
Oil on canvas
70cm x 50cm
£300



Imogen Hawgood Imogen Hawgood *
The End of the Road
Gouache on MDF
50cm x 80cm
£645

The freedom of the American open road has been a powerful image for generations of dreamers; the early American pioneers headed West in search of a better life, the beatniks followed Kerouac to LA and ‘Frisco’, while the hippies searched for freedom from the constraints of the American middle-class. The End of the Road questions the allure of the road, offering a subverted view of the LA, pairing a classic drive through a palm lined street with a noir-infused desolate atmosphere. Is what lies ahead ever really that different to what is reflected in the rear-view mirror?.


Graham High Graham High
Tunguska
Oil and acrylic paint, iron oxides on paper
88cm x 63cm
£500

The Tunguska event in 1908 was a large explosion in the Easter Siberian taiga which destroyed 80 million trees. It is generally attributed to an air burst of a meteoroid.

 


Mark Hobbs Mark Hobbs
Red Kite Over Pirton
Acrylic on canvas
100cm x 100cm
NFS

I painted this from the imaginary minds eye of the Red Kites that regularly soar above the skies of Pirton in Hertfordshire, painted during the lockdown period of 2020.


Michael Horn Michael Horn
In the Studio I
Oil and mixed media on canvas
121cm x 61cm
£1,800

A painting based on the studio, which plays around with the characteristic shapes and the moods within the studio


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