A decommissioned nuclear missile silo, the former Stasi Headquarters, an ancient village in Greece or the Wandsworth recycling centre – these historical and quotidian locations inform weird and wonky responses that suggest the uncertainty and strangeness of being alive in the modern world.

Lizon’s work evolves from a love of photography and discarded imagery. Her paintings have been selected for many exhibitions and painting prizes, including: Exeter Phoenix; RA Summer Exhibition, London; John Moores Painting Prize, Walker Art Gallery, Liverpool; Charlie Smith, London; The Threadneedle Prize, London; Oriel Davies, Wales; RWA, Bristol. In 2016 she exhibited a large-scale installation of paintings as part of a solo presentation of work at Soloprojects, Basel, Switzerland.

This brave and ambitious work is constructed by varnishing layers upon layers of printed paper until a substantial substrate is achieved.
This base is then treated by Fleckner in a way to interrupt the narrative, as well as reveal the rich archeology of the process. The final image of a young boy in a football stand is visible at distance, whilst on close inspection is a colourful mosaic, much like butterfly.

In the time it has taken you to read this sentence, the Earth will have travelled approximately 2730 kilometres through space.
Angove’s painting studio has one window that faces a brick wall that is made from approximately 17,000 red bricks. Since 1930, this wall has travelled 1.5 trillion kilometres through space. On the other side of this wall plays the latest Hollywood movie. This week it is, Dune.
This observation is both mundane and exquisite, and is what fuels Angove’s practice, that seeks to mine paintings from the mystery that surrounds us.

Driven by a love of painting in its purest form, my work centres around the felt experience of art. My paintings address concepts of truth and consciousness, but through an invitation to engage, more than an explicit statement. I have always been intrigued by the power of art and its ability to touch and move the viewer beyond rational explanation. My research has led me to examine art in relation to key interests: the present moment, experience beyond language, facets of consciousness, ontology and the human experience, divisions of truth and more.

Jude Hart’s meticulously constructed grid works are pre-planned networks onto which she hangs more spontaneous textured marks of luminous oil, pastel and pencil.

The human form is there but not fully realised. Listening, motionless, fleshy hand-formed bodies are posed, many appearing to be suffering from the passage of time. It is unclear if the forms are complete, in a state of growth or decay. They stand on the verge alluding to our basic need of protection, a safe refuge, either physically or, at times, mentally.

I collate scrapbooks in which friends, family and heroes montage with film stills, costume and architecture alongside creatures and landscapes from my travels. They include contributions from my children and drawings form religious iconography and ancient art. These collections of collaged, dreamlike, juxtaposed memories most often form the basis of my drawings and paintings.

Stories are the currency of power. I have collaborated with shamans, architects, engineers, bank robbers, doctors, musicians, politicians, dancers, miners, actors, fishermen, stem cell researchers, developers and others to build metaphorical worlds which critique our own. I create operatic experiences which combine the traditional and digital; bronze-casting, textiles, metalwork, film and theatre, alongside CAD, CNC, 3D modelling and VR.

The first examples of Palmer White’s ‘revenants’ began to be found in the early Eighties, though it took several years before it was discovered that the works were all made by the same person and that many pieces were likely to be located in the same area. It seems that White constructs these living relics and effigies as a way of embodying natural forces and elements: what he believes to be the living spirits of the natural world.