Ann Baber

Sophie Courtiour

Tara Vignoles

I was born in London and went on to study Fine Art at Wimbledon School of Art and Norwich School of Art.

I completed a BA Hons in Fine Art Printmaking and now explore and work primarily with oils.

In my work I explore the physical elements of the landscape, such as fleeting light, passing storms, big skies and water, whilst also seeking to intertwine the emotional and ethereal aspects of that landscape. 

I can be found in my studio, located on the edge of the Mendips, or sketching under the brooding skies of the West Country.


Anne Carpenter

Peter Howe


I was born in Somerset and trained at the Royal West of England College of Art.  

Before retirement my main occupation was in all aspects of fine art and commercial design.  

My work has been exhibited locally, in Bristol, London and Europe and on many charitable occasions.  In 2005 I was selected from over 10,000 artists worldwide to be one of the launching artists for a new gallery in the USA.

Gail Darke

Autumn Leaves

The rich, earthy and rustic colours of trees in autumn are the inspiration for this textile piece. 

I made felt leaves and used pieces of netting for tree bark, then used embroidery and machine stitching to create texture on a batik background.  



As a ceramic artist inspired by nature and the human form I hand-build figurative ceramics and large coiled pots.  I love the feel of the clay and find the transformative processes of making, glazing and firing fascinating. 

In practice I like to experiment with different types of clay and non-clay additives to create interesting surface marks and textures. I then layer the forms with oxides, slips and glazes and use different firing processes which can produce unstable reactions creating rough and textural surfaces. The texture of the coiled pot on the other hand is smooth as the shape and size of the body is the primary focus of making. Then it is the turn of the firing process to transform the colour of oxides and glazes that I find exciting, often with some unpredictable results.   





Michele Powell

Yeo River Glass




Juliet Arnison




Maxine Gourlay

My work reflects my love of the natural world and an interest since childhood in the worlds of other creatures and their habitats.  I also enjoy ‘close-up’ and microcosm studies and the often overlooked or unseen worlds that surround us but we are very much part of.

I work in a variety of media but I find that print especially allows me to reflect the detail that I am often looking for.  I also like to bring humour to some of my pieces, especially when depicting animals and birds that I believe all have personalities and characters of their own.


Gail Mason

‘Places I would like to be….’

My work is concerned with the experience of being in… or sense of…a place or journey… real or imagined.

These unique monotype silkscreen paintings do not seek to be physically accurate or describe anywhere particular, but are places that I would like to walk through and explore.

These are an outward expression of inner mark making, the footprints of past and future encounters.

The land series of mixed media sketches show a new way of working on an intimate scale exploring painting in a different way.

Colour is very important to me as it primes the emotional nature of a piece of work.

Through the continual application and removal of layers of paint I try to expose the essence of my memory and imagination. 

I received a Distinction in my final year of an MA in Multi-Disciplinary Printmaking at UWE in 2004, taught printmaking for many years at Foundation and Degree level and now run workshops in water and oil based monotype in my studio Claverham, and at Spike Print Studio in Bristol.

I exhibit regularly throughout the South West, am a member of the Bath Society of Artists, Somerset Printmakers, ID Artists and the RWA Artists Network.


Jude Painter

Jackie Curtis

I am an artist printmaker working with relief techniques monoprints, collagraphs, linocuts and woodblocks. Inspired by the natural world. I can be found walking in the Somerset Levels observing birds, sketch book and camera in hand; looking for materials and ideas to use in my printmaking.

My monoprints are spontaneous, lively innovative prints often created as an immediate response to recent experiences. The collagraphs, produced from a collage of materials, are rich in texture and depth of tone. Linocuts are more intricate and stylised with strong elements of pattern, whilst the woodblocks are influenced by natural grain, shape and flaws in the wood.

Tina Hill

In my work I am interested in exploring elemental transformations and the passage of time. More than just reflecting the natural cycles of birth and death, construction and destruction, I am interested in – ‘new life from old’; how artefacts can be discarded as worthless by one society only to be sought after and conserved by another. In this my work draws from both archaeology and Geology, as well as museum artefacts and display.

Printmaking as a process that allows me to incorporate parts of one print into another, producing new images and concepts from fragments of old. As parts, fragmentation and stratification are key elements in my work I try to express these ideas through the use of texture, colour and multiple layers or surfaces. My use of texture and colour also echoes the processes of decay and dissolution, the imprints and stains of time.

I gained an MA (distinction) in Multidisciplinary Printmaking at UWE in 2009 and I am currently an Artist Network Member of the Royal West of England Academy. My prints have been selected for exhibitions and are in privet collections, both in the UK and abroad.

Des Tucker

After 30 years in construction I joined a ceramics course at a local college and loved it from the outset. I realise now what an inexhaustible topic it is. There is always a new technique, a new avenue to explore, a new route to go down. It never ceases to excite me.

Most of my work is thrown on the wheel in either stoneware or terracotta. Currently I am experimenting with some black clay and textured slips. I generally fire stoneware at 1250C or 1280C in an electric kiln but I have recently have been carrying out some reduction firing in a gas kiln.

I enjoy making large pieces. I love simple classic shapes and bold colours. I often like to leave a body of the natural clay unglazed showing its natural colours and texture.


James Cawte

Photography was a teenage hobby that became serious while I was studying ‘A’ level Art. Encouraged and mentored by my art teacher, I went on to study photography at degree level  (BA Photographic Arts, University of Westminster - 1975). On graduation I took an entry level opportunity in Television Production and that was my career for forty years. I was a specialist in post-production, initially as an editor, but ultimately as a digital colourist – responsible for the ‘look and feel’ of a wide variety of programmes for UK and international clients. My experience as a colourist gave me a deep understanding of digital imaging tools and techniques.

On retirement I quickly felt the urge to return to photography, so the work here has all been created since the autumn of 2016. I think I have been lucky enough to have been blessed with a ‘photographer’s eye’ – the world constantly presents visual opportunities -  in the ‘fall of light’, shape, form, texture and colour. You can pass a place one day and see nothing yet the next it will offer something special. I just try and capture it when it does!


Melanie Deegan

The ability to capture movement in any form of art has always interested me and this has been a strong influence in many of the sculptures I create. The challenge is not just to suggest the action of an animal or figure in motion but also to give them a sense of purpose, to try and understand how it feels to be there.

The desire for a flexible approach to sculpture that allowed ideas to flow easily initially encouraged me to try many materials and techniques. Over the years I have been experimenting with a range of sculpting materials and this gradually led to the various combinations that create the distinctive style of my work.

Most sculptures begin with a wire or steel armature, this is essentially the drawing process and allows the proportions, position and bone structure to be determined. Onto this the layers are built up almost as if adding muscles and soft tissue to the piece. This part of the procedure is not entirely precise and adds an interesting dimension to the creative process.

Susanna Spanring

I'm interested in joyful pottery - objects which weave their way into our lives by being used with pleasure, every day. I aim to make pots with character, good to hold, lovely to look at and perfect for serving food. My hope is that each unique item will become part of the intimacy of the home, engaging with lives as they are filled with delicious food and drink. Cradled by hands, touched by lips, washed, dried and put away - I hope they can help transform daily drudgery into delight.

Jo Jones

My work is concerned with the human form and its relationships with and comparisons to landscape and environment. My sculptures are ambiguous, self-contained characters – quiet, contemplative, serene, with heads bowed or skywards looking – together yet apart.

I have exhibited my sculptures in many places, including Chichester Cathedral, the Bishop’s Palace Gardens, Wells; View Gallery, Bristol; The Sculpture Show; Artspace; Cube Gallery, Bristol; The Life Building City of London; Chapel Row Gallery, Bath and many more. My sculpture is in private collections in this country, Australia, USA andDenmark and also includes some commissioned portraits.



Martyn Wrench


Born in Shipham in 1953, I have lived in the area all my life, apart from a few years travelling and working abroad. I have been painting for a living since the early 1980s, during which time I have had 35 successful one-man shows.  I paint mainly in oils but also produce ‘pure Somerset charcoal’ drawings in a unique tonal style.