Combining carborundum, intaglio and relief print, Frances Murray makes close focus mono prints, personal meditations in line,

texture and colour which draw on elements of landscape, conveying symbolic and inward human associations.


Elisabeth Bell was born in France, settled in the UK. She now works in rural France and exhibits across Europe. Her large scale works are on paper and canvas. She uses mixed media, charcoal, acrylic and oil to explore the tension between elements in space. Previously an illustrator, she worked also in

textiles, and has exhibited widely, including recently at ST-ART Foire Europeene d’Art Contemporain,Strasbourg, France. She was also invited to take part
in Sianoja, an international art Symposium in Spain and two of her paintings are now in Sianoja contemporary art collection.


Bethany Murray is an artist and photographer whose practice is the body and performance. She comes from the tradition of women artists using their body in performance art. Her pieces are often staged photographs which can be seen as film stills. She uses both herself and other women in her performances. Trained in Performance and Dance at Dartington College of Arts in Devon, UK 

her work began as a performer in film, dance and live art. Later she trained in photography, going on to study at Central St Martins where she developed her own photographic language. Her work is cinematic and uses a process which is closer to the choreographic. Using juxtaposition through editing she creates fluid, changing narratives in which there is a return to the felt experience, to the body, and to a collective story.


Colour and simplicity are at the heart of Michelle’s practice. She seeks to create an equilibrium of serenity and vigor in her paintings, and aims to make pictures that appear simple and uncluttered.

Subjective experience – the creation of a piece of work, the viewing of it, and the relationship between perceiver and perceived – interests her. As does the fluid experience of seeing: the viewer’s gaze naturally moves from one form to another. She states ‘We don’t look at things in isolation; we look at things in relation to things.

This spontaneous perceptual process, which is constantly updating itself in response to changing conditions, is something I invite the viewer to become aware of.’

The idea of connective awareness – seeing things in relation to things – point to the traditional definition of ‘mindfulness’ as an alert, receptive awareness that brings a quality of breadth to experience. As John Berger puts it, “Our vision is continually active, continually moving, continually holding things in a circle around itself, constituting what is present to us as we are.”


I am interested in putting words into clay. I try to capture, in rock-like or fragile ceramic ‘pages’, found fragments of news, comment, headlines or adverts, and sometimes historic texts from many sources.

This is the crucial source for the works. I sometimes add paper or word related objects - the Pret bag, a keyboard, a book form. Or I focus on the basic materials themselves, attempting ceramic sketches of stones and surfaces.