June

Sargent & Seers

Lindsay Seers works in London and lives on the Isle of Sheppey. She studied at the Slade School of Fine Art, University College London (BA Hons, Sculpture and Media 1991-94) and at Goldsmiths College, University of London (MA Fine Art 1999-2001), where she now works as a lecturer on MA Fine Art (0.2).

What constitutes Lindsay’s artistic practice is not mere storytelling, but a matrix where there is no formal separation between the conceptual investigation of the act of photography, the camera as apparatus, the common desire for film and photography to act as evidence of events, and the complex historical and personal syncronicities of events themselves.

Lindsay’s works are in a number of collections including Tate collection, Arts Council collection, Artangel collection and the collection of MONA, Tasmania. She has won several prestigious grants and awards such as the Sharjah Art Foundation Production Award, UAE; Le Jeu de Paume production award for the Toulouse Festival, France and the Paul Hamlyn Award.

Keith Sargent lives and works on the Isle of Sheppey. He studied at Bath Academy of Art and then at the Royal College of Art. A graphic designer, animator and film-maker: Keith is director of multi-disciplinary design company b#1 (buildingnumberone). Keith, as a book publisher, makes/designs/commissions books working with artists, photographers, illustrators and writers, produced numerous titles that have been sold worldwide. He has been collaborating with Lindsay Seers since designing the book 'Human Camera' in 2007.

Carleen De Sözer

Carleen De Sözer was born in Birmingham in the late seventies and is widely regarded as one of London’s most skilled and diverse aerosol and airbrush artists. She has found a place on the International street art scene with her highly appealing Afrocentric, Afrofuturistic and often golden paintings. Carleen’s distinct work can be seen all across London. Her most popular murals to date include Golden Utopia, You Have The Keys, Golden Era Hip Hop Raised Me and Grime Lords.

Carleen says, "I create art, firstly for myself – I enjoy tapping into that creative space in my imagination that allows me to turn thought into physical pictures. Sharing my art is a natural part of the creative process, we build on everything that exists... a thought... I believe that my art is a re-creation of every visual and thought that I have received from the creative flow that is life".

Rabiya Choudhry

Rabiya Choudhry is a visual artist whose work explores the themes of identity and cultural displacement in contemporary British society with a darkly comedic approach.

Her work expresses the complicated coupling of eastern and western cultures in richly vibrant portrayals of the different autobiographical factors present in her own life. She makes paintings; from large scale canvases, miniatures to murals, small painted sculptures to fabric works.

Rabiya was born in Glasgow 1982 and described by the Scotsman newspaper as, ‘one of the wildest and most distinctive artists to come out of a Scottish art school in many years.’ She has exhibited both nationally and internationally with selected exhibitions including, COCO!NUTS! at Transmission Gallery (2018), Standard Bearers at Edinburgh Art Festival (2018), Signs Of The Times at Tramway (2017) and DCA Thomson at Dundee Contemporary Arts (2016).

Greta Davies

Greta Davies is a Fine Artist working across many media including paint, print, digital photography, stop motion, projection and installation.

Over the years her works have made bounds into the world of space and architecture and have become more in tune with the existing architecture found in our everyday lives, using this as the starting point for her works.

Greta is interested in the unnoticed and not easily accessible places that usually pass us by in our everyday lives, wanting to open up these spaces to the viewer, making them more noticed and seen in a different light than before.

Greta uses lines to create patterns, extending the space and the visual experience for the viewer. The awkwardness of the spaces is used to an advantage when making work: expanding into corners and crevices, under staircases and behind doorways, stretching their bounds, filling the spaces where the viewer cannot fully stand.

The lines and patterns encourage the viewer to move around and through the space, and the work ultimately creates a more optically interesting viewing experience.