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103 artists in this section
Kathy Prest SWA

Kathy Prest's fascination with the human form comes from an empirical understanding of movement and rhythm. Kathy has recently become an elected member of the Society of Women Artists and now Kathy exhibits her work across the UK - galleries include, Christies, Phillips Fine Art, McHardy Sculpture Company and the Westminster Gallery for the Society of Women Artists.
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Mathias Pfaff

Matias comes from Switzerland but currently lives and works in London and San Francisco. He uses various mediums and techniques and his portfolio includes three dimensional forms, photographic prints and installations. Looking closely and interpreting is the key to Matias' work, which incorporates the use of symbols. The artist says that his art attempts to draw a line between antiquity and the avant-garde. Therefore art history and perhaps history, understood as narrative story, is important for Matias's timeless work.
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Austen Pinkerton

Austen Pinkerton specialises in Acrylic and Watercolour. Austen takes inspiration from the world around him. Using representational elements as a starting point for a composition, Austen uses his memory and imagination to create a whole new environment, full of narrative and emotion. "…Sometimes I simply want just to express my feelings, about something or other in my life, or in the world around me."
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Tiutia Putia

“I do not look for inspiration; it's the inspiration that finds me” says Tiutia Putia with a cheeky glint in his eye. Putia’s recent online gallery introduces, ‘The Dirty Dozen’, a series of small sculptures which reflect his genuine affection and instinctive insight in to human nature. Each sculpture depicts a narrative, scene, concept or thought which has been developed from his observations on life. “I would say that I live and try to share my life with others. It may sound banal, but it's the closest to what I tend to embrace in my art.” Puita. Tiutia Putia was born in Poland and moved to London five years ago where he currently lives and works.
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