Jeremy Kidd, Detail, Joshua Tree Borealis, 2025
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Gail Barker
Born in Saffron Walden, Essex, attending a Quaker primary school, then a farm school
all influenced my love of space and the simple rhythms of daily life.
In 1977 I moved to Rochester, N.Y. continuing making art through evening classes.
In 1989 I moved to New England and enrolled as a full time student at the School of the Museum of Fine Arts, Boston.
After graduation, art as process has been my refrain.
My daily motions, rituals and activities all serve as prompts allowing me to incorporate walking, making journeys, contemplative solitary actions becoming drawings, sewing into paper, wrapping sticks, paper manipulation and occasional performance. I often work with my eyes closed, listening to music as the physical feel of the paper or canvas is of importance; the act of sewing and the act of knitting is more important than the outcome…allowing spontaneity and surprise.
In 2008 I returned to the U.K. and now reside in Bath.
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Valentina González Sáez
Valentina Gonzalez’s practice explores place, transformation, and memory through collage. Drawing on her background in architecture, she creates
layered compositions that echo fragments of landscape and the built environment.
Inspired by construction sites, Mediterranean light, and the textures of de-relict structures, her work reflects on the tension between construction and
decay, balance and disruption. Through an intuitive process of assembling materials and forms, Valentina builds quiet spatial narratives that invite
a slower gaze—revealing moments of transition where destruction and reconstruction coexist.
Valentina Gonzalez is a Spanish artist based in Oxfordshire, UK. She studied Architecture at the Polytechnic University of Valencia before moving to
England in 2015.
Alongside her professional work in architecture, she has developed a collage practice shaped by an interest in spatial composition, materiality,
and landscape. Her work has been exhibited in solo and group exhibitions across the south of England and presented at UK art fairs.
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Jeremy Kidd
“My interests lie in the elemental rather than the narrative—pathos over ethos. By elemental, I mean the forces that underlie and permeate the natural world. I’m looking to paint what a place feels like as much as what it might look like. Painting is a continual negotiation between seeing and sensing, between the physical elements before me and my emotive response to them. It is within this nexus that mystery emerges.”
For Kidd, painting becomes a site of encounter—where perception and emotion converge, and where the material act of painting opens onto something less tangible. The landscapes operate not as representations of specific places, but as conduits for experience, inviting viewers into a space where the familiar gives way to the ineffable and the natural world is felt as much as it is seen.
Kidd was born in England and received his BA in Fine Art from De Montfort University in Leicester. He is widely recognized as the creator of day-through- night photography, combining up to 100 long-exposure photographs into a single image that condenses a week of time into one cohesive landscape. These grand-scale photomontages explore movement, duration, and transcendence in both urban and natural environments.
More recently, Kidd has returned to his roots and the inspiration of Cornwall where he and his family have spent considerable time. There is a definite link and progression between his vast day/night body of photographic works and his current paintings.
Kidd is one of the younger members of the four generations of artists in the Nicholson family and is the grandson of British modernist sculptor Barbara Hepworth (1903–1975) and abstract artist Ben Nicholson (1894–1982). In the mid-1980s, he moved to the United States, traveling across the country in a van for a year—an experience that profoundly shaped his understanding of the monumentality of the American landscape. He eventually settled in Los Angeles, where he has taught at the California Institute of the Arts and Otis College of Art and Design, and maintains a studio in Venice.
Kidd's work has been exhibited and collected by prestigious institutions and corporations, including Orange County Museum of Art, Laguna Museum of Art, The Aldrich Museum of Contemporary Art, California Museum of Photography, California State Senate Contemporary Art Collection, and Museo Area Archeologica Arte Contemporanea in Cisternino, Puglia, Italy.
His work is also part of major corporate collections such as BMW, Red Bull, Merrill Lynch, Nokia, Swire HQ (Hong Kong), Biogen, and Kite Pharma Gilead. Additionally, his art is held by notable collectors and institutions, including Helene Galen, Wallis Annenberg, Milbank Tweed Hadley McCloy LLP, Constellatio" Place LLC, Star Scientific, Cerebral Palsy Alliance (Sydney), and Kaiser Permanente Hospital (CA).
Supported residencies in Bangladesh, Nepal and Japan, together with his experiences working and travelling through South Asia have provided unique visual and conceptual contexts that continue to inform his sculptural and graphic practice. He constructs mixed-media photographic collage and sculpture in response to the built environment.
Architectural forms, graphic and street art are often imbued with diverse styles that may be seen as reliquaries of cultural migration, hybridity and authenticity. These idiosyncratic assimilations provide for a unique set of forms that trace the evolution of cultural, personal and regional identity. Although there is a universality that transcends style, modes of representation are influenced by the cultures that exist in and pass through them. These resultant motifs, forms and structures inform sculpture and collage.
‘When I am in a particular place categories are established and edits made of the photographs that I take whilst cycling and walking through these territories- such as in Tokyo, Kathmandu and Dhaka. Photographs are applied within mixed media collages and reflect a dynamic between homogeneous and hybridised styles of architecture and street art.
Images are cut, woven and pasted on top of and alongside each other onto found objects and handmade paper, utilising an interplay between both the cut image and its surrounding debris during their arrangement.’
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Richard Crooks
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Gina Parr
Gina Parr is a painter and photographer who paints with her camera when traveling.
Nature, memory and identity serve as the cornerstone of Parr’s work. Her childhood spent diversely in Devon’s wide-open spaces with her father, fishing for mackerel, and at home living with her mother's extreme hoarding and mental health issues, inherently informs her practice. Consequently the work is often imbued with the atmosphere and narrative of both these experiences, utilising a guttural and painterly response to these childhood memories, whilst she explores the space between abstraction and figuration.
Lyrics from songs, things said, current affairs, sexual politics, passages from literature, climate change, presence and absence all play their part, whilst she ultimately, and not surprisingly, longs to find an emotional, spatial and visual balance of order within her work.
Originally receiving a First Class BA Honours Degree in Fine Art, she went on to Chelsea College of Art to study set design, leading to a 25 year career Production Designing many notable shows for BBC Television, returning to her full time Art practice in 2007.
Since then, she has widely exhibited in galleries and art fairs in the UK and Europe. Parr has works in worldwide collections including: Keble College Oxford, The Belmond Cadogan Hotel London, Argentex Foreign Exchange Headquarters London, and has completed commissions in UAE, Belgium, London, USA, and for Glen Scotia Whisky, part of the Loch Lomond Group Scotland, for a their 50 year old whisky release in 2025. Parr has also lectured at Chelsea College of Art and Nottingham University. She was selected for the RA Summer Show 2024 and has shown at the Royal Western Academy in 2023 and 2025.
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Robin Sewell
I employ a dry powdered compound to make shallow relief drawings that I am able to fix. Many of these drawings become paintings by being priming over and painted over.
My working method is a turbulent and revelatory collaboration with these materials, both aided and hampered by indeterminacy. On occasion some disarmingly simple procedures elicit an apparent chaotic maelstrom, creating a morphogenesis of highly complex imagery in the blink of an eye. While there must be a physical intention for a new work to start, I mentally manoeuvre myself to let go and allow the qualities and the behaviours of the powdered and fluid materials, to have a ‘voice’ – to enable serendipitous occurrences.
Most of my studio tools, instruments and techniques have been designed and made to serve my specific studio practice. These include multi-paint guns, squeegees, combs, small robotic drawing machines, powder fixing devises and viscosity measuring instruments. Often, surprisingly, what emerges onto the panel has significant references to my current intellectual research and physical activities derived from reading, being in the landscape and visiting galleries. Over the years cosmology, landscapes, geology, birth, war, exuberant plant growth, pollution and refugees lost at sea, amongst many others, have influenced the paintings and drawings. It has taken many years to come to understand that I am striving to understand the interface between the conscious and sub-conscious working of the mind and how the latter is immensely powerful if only we can find ways to employ it.