About
Change Between the Lines Jane Walker 2026
My work is an investigation in landscape painting. The work I make is abstract and made with lines in 2-D. I always work on a portrait format, to suggest layers and depth. The current body of work started as mathematical and musical patterns, made with bright colours, arranged on a grid of horizontal and vertical lines. Alongside this studio practice I sketch outside. In some of these outdoor studies I noticed I had captured an immense power in natural things like tree roots and weather. I think the power is in the movement, nature constantly moves, grows and adapts man made structures are static.
I start work in the studio with lines drawn in red, sanguine ink. The lines look like buildings; industrial and city structures, some of them are clusters of rectangular cells that look like a coral of human habitation. This is how I make work because for a long time I had been drawing fragile city lines. Buildings are static and certainly in painting terms, nature has a greater strength because it moves constantly. In bringing the outdoor work in to the studio I have gradually moved towards thinking about nature and how it relates to human habitation. I have sketched old trees in the city centre that have found ways of adapting and sometimes fighting back at tall buildings that take their space and light. Another example is a Yorkshire dry stone wall, near my house that has been built to attach to a tree. The tree was there first, the roots and foot of the tree trunk are amazing structures. Not only has the tree grown in width so that it grips the ends of the stone wall on either side of its trunk but on one side of the wall there is a footpath and on the other there is a road that is about eight foot higher up. Things like this that have been constructed by nature have led me to think through so many aspects of the ‘landscape’ and to make more dramatic responses in painting.
In my work I change the order in which I do various processes, and increasingly mix materials. Sometimes I start by painting fluorescent colour on the reverse side of one of my sanguine ink drawings then start painting on both sides. I forget about the fluorescent colour until the work is hung on a wall then the colour glows from behind. Some pieces I start by damaging and destroying the paper cutting lines through the paper and scratching marks on the surface, I then mend these cuts by stitching over them. The sanguine ink lines are waterproof so reappear through a lot of these processes, they retain a presence. Destruction is part of the way I work, I destroy previous ideas, patterns and drawings, erasing things makes space for development and change. If the deep textures on the surface of my work get in the way of new marks then I cut the stitches and threads and move them. The different ways of making lines and the individual character of the lines are made in a different order in each piece. Just wetting paper can almost reseal a cut and painting over it makes the cut disappear, but the work remains structurally fragile. Other constants in my work are the straight ruled horizontal lines across the paper and that the touches of colour often play with, these lines they are a remnant of my musical patterns. While attending a talk at Huddersfield Contemporary Music Festival one of the speakers mentioned that new research had shown that tree roots grow towards the vibrations of water, not the water itself. This made me think of how important sound waves are and that they might have a bigger impact than we realise on all particles of matter. So in my work the threads and the way they hold particles of chalk, glitter or muddy pigments is my way of trying to think through this. On my palette I just add matter with colours, I work through a painting with colour, but I am often just looking for something heavy, light or dark. Paint is just stuff. I end up with subtle colour changes. Tone is more important than colour, in this respect I identify with the northern landscape painting tradition. The paints I am currently using are Japanese watercolours they are luminous and delicate and completely contrast with the earth pigments of my western palette. The colours in Hiroshige prints that I saw at the British Museum last Summer were unforgettable and at the British Library previous to this there was an exhibition of Japanese ink drawings prepared for wood block printing but never turned in to prints. On these drawings it was possible to see all of the alterations, the blocking out and redrawing that you do not normally see making the lines far more alive than those on a finished print. So in my work I try to remember this, I work to somehow resolve things but each mark is part of this. The artist Amy Sillman records the dramatic changes that her work under goes with photos. I can identify with this as well as the cartoon quality of her lines, my lines are often cartoon like. I sometimes loose work that is good in the working process, it is only when I look at the photographs of lost stages that I realise there were good paintings in between. I contrast working quickly with really slow deliberate marks.
The surface in my work can become quite convoluted almost turned inside out, once the stitches are covered in paint they can look like scars. The artist, Mike Kelly, whose exhibition I saw at Tate Modern last Spring, talked of reincarnation in the catalogue text and this is how I think of the scar like marks in my work, the skin is turned inside out. Also because the sanguine lines are always there the paint and washes of watercolour look thin almost like a cloud passing. I chose landscape as a subject when I was a student partly because it seemed to have more scope for working at scale.
An exhibition of Helen Frankenthaler’s paintings that O saw last summer had a big impact on me, the gallery looked as if it has been built for her work it’s such a beautiful combination, and made me realise how important context is for showing work. Seeing Turners paintings in ‘Turner always Contemporary’, at the Walker Art Gallery made me aware of how good his work is particularly when it is shown next to other artists. It is his experimenting with the surface that has always been an inspiration for my endless experiments with the surface.
Instagram
Janewalkerpainter
statement 2024
I make 2-D art work, that relates to landscape painting. For a long while I made drawings of cities, now the work is abstract. I put structures in the surface then gradually fade them with horizontal lines. When the upright structures have become too difficult to see I put in new structures and repeat the process. I used to call the horizontal lines, fast lines, they come from some of my city drawings that were made with one restless fast line. I like the marks in a painting to link. The energy in the horizontal lines pulls particles across the surface, they make a 2-D plane in a landscape space.
Gradually I am decreasing the amount of new materials I use. The works on paper and canvas have re-cycled elements and some of the paint I make from plants, sand or ground brick. I also use things like fruit netting from fruit bought and packaging from sugar, cereals. The design of the packaging repeats architectural structures on a micro scale. Composition is a mathematical arrangement that relates to music, but I am becoming increasingly interested in the sound that surrounds me. This is influencing the direction my art is going in.
I have spent time looking at Bridget Riley's painting 'Rise' in the Graves Gallery, Sheffield and this has influenced my recent work.
Education
2021-24 Turps Correspondence Course
1987-90 Royal Academy Schools
1984-87 Sheffield Hallam University
Solo Exhibitions
2025 Incarnated Lines, Holmfirth Tech, Holmfirth
2024 Horizontal Lines, The Old Chapel Gallery, Sheffield
Searching Lines, Aire Place Studios Gallery, Leeds
Lining Up, Redcar Contemporary Art Gallery, Redcar
2023 Jane Walker, Saddleworth Museum and Gallery
Doncaster Scene, D31 Art Gallery, Doncaster
2021 City Lines, Fronteer Gallery Sheffield with an essay by Sean Williams
The Hamburg Series, Arts For Health Milton Keynes University Hospital
2020 Jane Walker Drawings, Mansfield Museum
Lines, Jane Walker at Pop Up Scunthorpe
Personal Notes, Kunst Quartier Leonberg, Stuttgart
2018 Lines, 20:21 Visual Arts Centre Scunthorpe
Jane Walker at Jordans Solicitors, March 2018, Wakefield Artwalk
2017 Discovering the paintings of Jane Walker, Surface Gallery, Nottingham
2016 'City Lines', Garbos, Southsea, curated by Sticks Gallery
2011 ‘In Turners Footsteps’, Museum & Art Gallery, Nuneaton
2007 ‘Short Frieze’ Atkinson Gallery, Southport
2004 Bloc space, Sheffield
Group exhibitions
2025 Textile Art, by Open Gallery at Calderdale Industrial Museum, Halifax
This Years Model part II, Studio 1.1, London
2024 Night & Day, Fronteer Gallery, Sheffield.
Nottingham Street Art Festival, Surface Gallery, Nottingham
2022 Meet the Locals, Fronteer Gallery Sheffield
On the Surface, a micro exhibition by prosaic 97, at Bloc studios, Sheffield.
Three Artists, Fronteer Gallery
2021 The Examiners, a micro exhibition by Prosaic97, Fronteer Gallery
2020 Borders, Future Landscapes, The Room Contemporary Art Space, Venice, Italy
2019 Sound Image, Surface Gallery Nottingham Katya Kvasova, Russell Terry, Trevor Simmons & Jane Walker
O Tempo, Other Sounds Other Places, Gois Portugal
Warp Shift, Jane Walker (drawings) & Chris Williams ( sculpture), Workers Gallery, Porth
Contemporary Art & Ritual, The Crypt Gallery London
2018 Chapter 1, Art Number23, The Old Biscuit Factory Bermondsey London
Art Show, Soda, Sofia Bulgaria with World of Co
Woman Shall Inherit the Earth, Panacea Museum Bedford
Exhibition Practice, Art House Wakefield
2017 The Gathering, a residency and exhibition at Crux, Wakefield
Antennae, Lubomirov /Angus-Hughes, London
Layers, AIR Worldof Co exhibition, Sophia, Bulgaria
2016 Colorida Art Gallery, Lisbon
ARTery, curated by Plastic Propaganda, London
Sugar and Spice, St. Katharine Docks, London
Alternative Nature, Electric Picture House, Congleton
2015 A Space Between, Stone Space, Leytonstone, London
Voeux d'artistes, Marseille
Black on White, Oriel Gallery, Clywd Theatr Cymru, Wales
Overlooked, Park Hill Estate, Sheffield
Engagement & Entrapment, Smart Gallery, Nicosia, Cyprus
Paper Art, Art Alley Gallery, Sofia, Bulgaria
2014 Painting Now, One Church St Gallery, Great Missenden
Essential Elements, St Brides Gallery, Liverpool Biennial Independents
5th Paul Ricard International painting Symposium,Ile de Bendor, France
'Lost', an artistic archaeology of the recent past, Salisbury Art Centre
2013 Nuances Parisiennes, Musee de Beaux-Arts de St Petersbourg, Russia
Visions of Yorkshire, The art station, Huddersfield train station
Cities; All Dimensions, Tokarska Gallery, London
2012 Begehungen 9, In der Zwischenzeit, Chemnitz, Germany
The Schools, ex RA students from 1950-90, Beverley Art Gallery
2011 ‘Artists at Home & Abroad’, Broadway Gallery, New York
2010 ’Refracted Landscape’, Lawrence Batley Theatre, Huddersfield
‘Paint’, Beldam Gallery, Brunel University, Uxbridge
Urban Voids and Absences, turn-berlin gallery, Berlin
2009 Artists in Residence 09, Chapman Gallery, Salford University
Fete Picasso-Small Art Objects, Vallauris, France
2006 ‘Urbia’ Sheffield University
‘Roderic Barret and his students’, Chappel Galleries, Chappel
2005 ‘Fold it’ Stroud House Gallery, Stroud
2003 Paintings in Hospitals, Sheridan Russel Gallery, London
2002 Dean Clough Galleries, Halifax
2001 ‘Urban’, York City Art Gallery
1999 Space 99, Ruskin Gallery, Sheffield
1995 4 artists from London, casa de la cultura, Aguilas, Spain
1991 Gray Art Gallery, Hartlepool, ‘regeneration of the waterfront’
Prizes, awards. Open submissions
2025 Old Parcels Office Open, Scarborough
If Heaven Falls, Alternative Valentines Show, The Lido Stores, Margate
2024 Members Show, Studio 1.1, London
Town House Open, London
Southwark Park Open
The Big Art Show, Paisley
Open Exhibition at the Minories, Colchester
Higher Bandwidth, Shat Gallery, Skelmanthorpe Library
2023 Spring Exhibition D31 Art Gallery, Doncaster
Members Show, Studio 1.1, London
Redcar Summer Open, Redcar Contemporary Gallery, Redcar
The Big Art Show, The Art Department, Paisley
Festival of Street Art, Surface Gallery, Nottingham
Stockport Makes, Stockport Open 2023
2022 The Harley Open, Harley Gallery, Welbeck, Worksop
Members Show, Studio 1.1, London
Towns and Cities, Open Gallery, Halifax
Home, The Open Gallery, Halifax
Landscape, Open Gallery, Halifax
Open Mind, Open Gallery, Halifax
Summer Exhibition, Open Gallery, Halifax
Summer Exhibiton, D31 Gallery, Doncaster
Anything but Paint, Fronteer Gallery, Sheffield
PAINT! Fronteer Gallery, Sheffield
Moray, Mapping and Memory, members exhibition, The Moray Arts Centre, Findhorn, Scotland
The 38th Derbyshire Open, Buxton Art Gallery and Museum
A Green Gathering, The Green Man Gallery, Buxton
We are Here, Artspace, Cambridge
The Raven Open, Raven Gallery, Mexborough
Give me Love, Lido Stores, Margate
The Lido Open, Margate
Autumn Exhibition, D31 Gallery, Doncaster
Rhythm; Art in Conversation with Music, The Storey, Lancaster
2021 Lancaster Music Festival Art Exhibition
The Lido Open, The Lido Stores, Margate
Abstract, Fronteer Gallery Sheffield
Refresh, Fronteer Gallery, Sheffield
This Years Model, part III, Studio1.1, London
In the Open, Ryedale Folk Museum, Hutton-le-Hole, North Yorkshire
Summer Open Exhibition, D31 Gallery, Doncaster
2020 Royal Cambrian Academy open exhibition, Conwy, Wales
2019 Wales Contemporary, Waterfront Gallery, Milford Haven, & Mall Galleries, London
Hull Open, Ferens Gallery, Hull
Paper Art Festival, The Peoples Palace, Sofia
2018 NN Open, Northampton
Hope & Home, Workers Gallery, Porth, Wales
Hull Open, Ferens Gallery Hull
Waterside Open, Waterside Arts Centre, Sale Manchester
2017 Amateras Mini Paper Art Exhibition, Gallery Finesse, Sofia, Bulgaria
Lichfield Art Prize, finalist, Lichfield Cathedral
Legend, Moma Machynlleth, Wales
[Kun:st}Preis International, Galerie Kerstan, Stuttgart
Small Faces, Solent University Gallery, Southampton
2016 Peterborough Open, highly commended award, judged by Sarah Brown,
Dale Devereux Barker, Yasmin Canvin
International Postcard Exhibition, Surface Gallery, Nottingham
2015 Neo Art Prize, Gallery 27. Bolton Market Place, Bolton, selected by
Ian Davenport, Amira Gad, Margot Heller, and Helen Phelby.
Shoosmiths Art Prize, Milton Keynes Arts for Health selected by
Baroness Wall, Sophie Hall, Julia Alvarez, Gary Assim.
Oriel Wrexham selected by John McClenaghen
2014 9th International Biennial of Drawing, Pilsen, Czech Republic
2013 Finalist, Modessqe 1st painting contest, Skwer, Warsaw
The Big Draw at Tokarska Gallery, London
'Drawing' Salisbury Art Centre, Salisbury
Ludlow Open, Ludlow selectors; Christopher le Brun,
Ann de Charmant, David Keaton-Roberts, Nathaniel Pitt
2012 Neo Art Prize, Bolton selectors; Kwong Lee & Aileen McEvoy
2011 Arqadia award for a work in monochrome, Society of Graphic Fine Art
2010 ArtWorks open, Barbican Arts Group Trust, London selected by
Timothy Hyman & Graham Crowley
2009 Drawn In, Sidcot Arts Centre, Winscombe, Somerset
2005 Jerwood Drawing Prize selectors; Stephen Farthing, Martin Kemp,
Dr Sarah Simblet
1995 John Moores 19, prizewinner selectors; Frances Spalding, Timothy Hyman,
Basil Beatie, Alex Kidson
1992 Lucy Morrrison Memorial Award, Royal Overseas League
1990/2 Royal Academy Summer Exhibitions
1989 Aeneas Travelling award (Royal Academy)
Bibliography
2021 City Lines review written by Sean Williams published on a-n Reviews
2017 Nottingham Post, April 15th
2016 Digging into the Quicksands of Time, Anna McNay, http://art-corpus.blogspot.com/
2015 Overlooked, Introduction by Paul Allender, Sheffield University
Interviewed for 'Provence TV', SIAC Marseille, France
2014 Review: Essential Elements, St. Brides Gallery, Liverpool text by Sinead
Nunes posted online by Lauren Velvick September 14, 2014
The State of Art, Landscape & Portrait #1, Bare Hill Publishing
The State of Art, Representational & Abstract #2
2013 Modessqe Art Magazine September, Cracow
2012 Tribe Magazine, online international creative arts magazine Issue 1
New York Arts Magazine Spring 2012
Begehungen no.9, Chemnitz
2007 David Briers, text for 'Short Frieze'
Collections
Societe Paul Ricard, Bandol, France
Beldam Gallery, Uxbridge University
Royal Overseas League, London
Private Collections:
London, Marseille, Bordeaux, Mulhouse, Colmar, Vallauris, San Sebastien, Chemnitz, U.S.A., Manchester, Colchester, Sheffield, Southport, Liverpool, Plymouth, Ludlow, Newhaven, Eastbourne
sales in 2024
2 pieces sold by the Lido Stores Margate
1 watercolour sold by The Green Man Gallery, Buxton
1 oil painting sold in the Street Art Exhibition, Surface Gallery, Nottingham
1 oil painting sold from the Big Art Show, Paisley, Scotland
2 oil paintings sold from my solo exhibition at APS gallery, Leeds
2 watercolours and 2 oil paintings sold from my solo exhibition at the Old Chapel Gallery, Sheffield
1 watercolour sold by Cupola from the exhibition Joyful
1 watercolour sold from the exhibition 'Art by Chance', Mill Gallery, Leeds
My work is an investigation in landscape painting. The work I make is abstract and made with lines in 2-D. I always work on a portrait format, to suggest layers and depth. The current body of work started as mathematical and musical patterns, made with bright colours, arranged on a grid of horizontal and vertical lines. Alongside this studio practice I sketch outside. In some of these outdoor studies I noticed I had captured an immense power in natural things like tree roots and weather. I think the power is in the movement, nature constantly moves, grows and adapts man made structures are static.
I start work in the studio with lines drawn in red, sanguine ink. The lines look like buildings; industrial and city structures, some of them are clusters of rectangular cells that look like a coral of human habitation. This is how I make work because for a long time I had been drawing fragile city lines. Buildings are static and certainly in painting terms, nature has a greater strength because it moves constantly. In bringing the outdoor work in to the studio I have gradually moved towards thinking about nature and how it relates to human habitation. I have sketched old trees in the city centre that have found ways of adapting and sometimes fighting back at tall buildings that take their space and light. Another example is a Yorkshire dry stone wall, near my house that has been built to attach to a tree. The tree was there first, the roots and foot of the tree trunk are amazing structures. Not only has the tree grown in width so that it grips the ends of the stone wall on either side of its trunk but on one side of the wall there is a footpath and on the other there is a road that is about eight foot higher up. Things like this that have been constructed by nature have led me to think through so many aspects of the ‘landscape’ and to make more dramatic responses in painting.
In my work I change the order in which I do various processes, and increasingly mix materials. Sometimes I start by painting fluorescent colour on the reverse side of one of my sanguine ink drawings then start painting on both sides. I forget about the fluorescent colour until the work is hung on a wall then the colour glows from behind. Some pieces I start by damaging and destroying the paper cutting lines through the paper and scratching marks on the surface, I then mend these cuts by stitching over them. The sanguine ink lines are waterproof so reappear through a lot of these processes, they retain a presence. Destruction is part of the way I work, I destroy previous ideas, patterns and drawings, erasing things makes space for development and change. If the deep textures on the surface of my work get in the way of new marks then I cut the stitches and threads and move them. The different ways of making lines and the individual character of the lines are made in a different order in each piece. Just wetting paper can almost reseal a cut and painting over it makes the cut disappear, but the work remains structurally fragile. Other constants in my work are the straight ruled horizontal lines across the paper and that the touches of colour often play with, these lines they are a remnant of my musical patterns. While attending a talk at Huddersfield Contemporary Music Festival one of the speakers mentioned that new research had shown that tree roots grow towards the vibrations of water, not the water itself. This made me think of how important sound waves are and that they might have a bigger impact than we realise on all particles of matter. So in my work the threads and the way they hold particles of chalk, glitter or muddy pigments is my way of trying to think through this. On my palette I just add matter with colours, I work through a painting with colour, but I am often just looking for something heavy, light or dark. Paint is just stuff. I end up with subtle colour changes. Tone is more important than colour, in this respect I identify with the northern landscape painting tradition. The paints I am currently using are Japanese watercolours they are luminous and delicate and completely contrast with the earth pigments of my western palette. The colours in Hiroshige prints that I saw at the British Museum last Summer were unforgettable and at the British Library previous to this there was an exhibition of Japanese ink drawings prepared for wood block printing but never turned in to prints. On these drawings it was possible to see all of the alterations, the blocking out and redrawing that you do not normally see making the lines far more alive than those on a finished print. So in my work I try to remember this, I work to somehow resolve things but each mark is part of this. The artist Amy Sillman records the dramatic changes that her work under goes with photos. I can identify with this as well as the cartoon quality of her lines, my lines are often cartoon like. I sometimes loose work that is good in the working process, it is only when I look at the photographs of lost stages that I realise there were good paintings in between. I contrast working quickly with really slow deliberate marks.
The surface in my work can become quite convoluted almost turned inside out, once the stitches are covered in paint they can look like scars. The artist, Mike Kelly, whose exhibition I saw at Tate Modern last Spring, talked of reincarnation in the catalogue text and this is how I think of the scar like marks in my work, the skin is turned inside out. Also because the sanguine lines are always there the paint and washes of watercolour look thin almost like a cloud passing. I chose landscape as a subject when I was a student partly because it seemed to have more scope for working at scale.
An exhibition of Helen Frankenthaler’s paintings that O saw last summer had a big impact on me, the gallery looked as if it has been built for her work it’s such a beautiful combination, and made me realise how important context is for showing work. Seeing Turners paintings in ‘Turner always Contemporary’, at the Walker Art Gallery made me aware of how good his work is particularly when it is shown next to other artists. It is his experimenting with the surface that has always been an inspiration for my endless experiments with the surface.
Janewalkerpainter
statement 2024
I make 2-D art work, that relates to landscape painting. For a long while I made drawings of cities, now the work is abstract. I put structures in the surface then gradually fade them with horizontal lines. When the upright structures have become too difficult to see I put in new structures and repeat the process. I used to call the horizontal lines, fast lines, they come from some of my city drawings that were made with one restless fast line. I like the marks in a painting to link. The energy in the horizontal lines pulls particles across the surface, they make a 2-D plane in a landscape space.
Gradually I am decreasing the amount of new materials I use. The works on paper and canvas have re-cycled elements and some of the paint I make from plants, sand or ground brick. I also use things like fruit netting from fruit bought and packaging from sugar, cereals. The design of the packaging repeats architectural structures on a micro scale. Composition is a mathematical arrangement that relates to music, but I am becoming increasingly interested in the sound that surrounds me. This is influencing the direction my art is going in.
I have spent time looking at Bridget Riley's painting 'Rise' in the Graves Gallery, Sheffield and this has influenced my recent work.
Education
2021-24 Turps Correspondence Course
1987-90 Royal Academy Schools
1984-87 Sheffield Hallam University
Solo Exhibitions
2025 Incarnated Lines, Holmfirth Tech, Holmfirth
2024 Horizontal Lines, The Old Chapel Gallery, Sheffield
Searching Lines, Aire Place Studios Gallery, Leeds
Lining Up, Redcar Contemporary Art Gallery, Redcar
2023 Jane Walker, Saddleworth Museum and Gallery
Doncaster Scene, D31 Art Gallery, Doncaster
2021 City Lines, Fronteer Gallery Sheffield with an essay by Sean Williams
The Hamburg Series, Arts For Health Milton Keynes University Hospital
2020 Jane Walker Drawings, Mansfield Museum
Lines, Jane Walker at Pop Up Scunthorpe
Personal Notes, Kunst Quartier Leonberg, Stuttgart
2018 Lines, 20:21 Visual Arts Centre Scunthorpe
Jane Walker at Jordans Solicitors, March 2018, Wakefield Artwalk
2017 Discovering the paintings of Jane Walker, Surface Gallery, Nottingham
2016 'City Lines', Garbos, Southsea, curated by Sticks Gallery
2011 ‘In Turners Footsteps’, Museum & Art Gallery, Nuneaton
2007 ‘Short Frieze’ Atkinson Gallery, Southport
2004 Bloc space, Sheffield
Group exhibitions
2025 Textile Art, by Open Gallery at Calderdale Industrial Museum, Halifax
This Years Model part II, Studio 1.1, London
2024 Night & Day, Fronteer Gallery, Sheffield.
Nottingham Street Art Festival, Surface Gallery, Nottingham
2022 Meet the Locals, Fronteer Gallery Sheffield
On the Surface, a micro exhibition by prosaic 97, at Bloc studios, Sheffield.
Three Artists, Fronteer Gallery
2021 The Examiners, a micro exhibition by Prosaic97, Fronteer Gallery
2020 Borders, Future Landscapes, The Room Contemporary Art Space, Venice, Italy
2019 Sound Image, Surface Gallery Nottingham Katya Kvasova, Russell Terry, Trevor Simmons & Jane Walker
O Tempo, Other Sounds Other Places, Gois Portugal
Warp Shift, Jane Walker (drawings) & Chris Williams ( sculpture), Workers Gallery, Porth
Contemporary Art & Ritual, The Crypt Gallery London
2018 Chapter 1, Art Number23, The Old Biscuit Factory Bermondsey London
Art Show, Soda, Sofia Bulgaria with World of Co
Woman Shall Inherit the Earth, Panacea Museum Bedford
Exhibition Practice, Art House Wakefield
2017 The Gathering, a residency and exhibition at Crux, Wakefield
Antennae, Lubomirov /Angus-Hughes, London
Layers, AIR Worldof Co exhibition, Sophia, Bulgaria
2016 Colorida Art Gallery, Lisbon
ARTery, curated by Plastic Propaganda, London
Sugar and Spice, St. Katharine Docks, London
Alternative Nature, Electric Picture House, Congleton
2015 A Space Between, Stone Space, Leytonstone, London
Voeux d'artistes, Marseille
Black on White, Oriel Gallery, Clywd Theatr Cymru, Wales
Overlooked, Park Hill Estate, Sheffield
Engagement & Entrapment, Smart Gallery, Nicosia, Cyprus
Paper Art, Art Alley Gallery, Sofia, Bulgaria
2014 Painting Now, One Church St Gallery, Great Missenden
Essential Elements, St Brides Gallery, Liverpool Biennial Independents
5th Paul Ricard International painting Symposium,Ile de Bendor, France
'Lost', an artistic archaeology of the recent past, Salisbury Art Centre
2013 Nuances Parisiennes, Musee de Beaux-Arts de St Petersbourg, Russia
Visions of Yorkshire, The art station, Huddersfield train station
Cities; All Dimensions, Tokarska Gallery, London
2012 Begehungen 9, In der Zwischenzeit, Chemnitz, Germany
The Schools, ex RA students from 1950-90, Beverley Art Gallery
2011 ‘Artists at Home & Abroad’, Broadway Gallery, New York
2010 ’Refracted Landscape’, Lawrence Batley Theatre, Huddersfield
‘Paint’, Beldam Gallery, Brunel University, Uxbridge
Urban Voids and Absences, turn-berlin gallery, Berlin
2009 Artists in Residence 09, Chapman Gallery, Salford University
Fete Picasso-Small Art Objects, Vallauris, France
2006 ‘Urbia’ Sheffield University
‘Roderic Barret and his students’, Chappel Galleries, Chappel
2005 ‘Fold it’ Stroud House Gallery, Stroud
2003 Paintings in Hospitals, Sheridan Russel Gallery, London
2002 Dean Clough Galleries, Halifax
2001 ‘Urban’, York City Art Gallery
1999 Space 99, Ruskin Gallery, Sheffield
1995 4 artists from London, casa de la cultura, Aguilas, Spain
1991 Gray Art Gallery, Hartlepool, ‘regeneration of the waterfront’
Prizes, awards. Open submissions
2025 Old Parcels Office Open, Scarborough
If Heaven Falls, Alternative Valentines Show, The Lido Stores, Margate
2024 Members Show, Studio 1.1, London
Town House Open, London
Southwark Park Open
The Big Art Show, Paisley
Open Exhibition at the Minories, Colchester
Higher Bandwidth, Shat Gallery, Skelmanthorpe Library
2023 Spring Exhibition D31 Art Gallery, Doncaster
Members Show, Studio 1.1, London
Redcar Summer Open, Redcar Contemporary Gallery, Redcar
The Big Art Show, The Art Department, Paisley
Festival of Street Art, Surface Gallery, Nottingham
Stockport Makes, Stockport Open 2023
2022 The Harley Open, Harley Gallery, Welbeck, Worksop
Members Show, Studio 1.1, London
Towns and Cities, Open Gallery, Halifax
Home, The Open Gallery, Halifax
Landscape, Open Gallery, Halifax
Open Mind, Open Gallery, Halifax
Summer Exhibition, Open Gallery, Halifax
Summer Exhibiton, D31 Gallery, Doncaster
Anything but Paint, Fronteer Gallery, Sheffield
PAINT! Fronteer Gallery, Sheffield
Moray, Mapping and Memory, members exhibition, The Moray Arts Centre, Findhorn, Scotland
The 38th Derbyshire Open, Buxton Art Gallery and Museum
A Green Gathering, The Green Man Gallery, Buxton
We are Here, Artspace, Cambridge
The Raven Open, Raven Gallery, Mexborough
Give me Love, Lido Stores, Margate
The Lido Open, Margate
Autumn Exhibition, D31 Gallery, Doncaster
Rhythm; Art in Conversation with Music, The Storey, Lancaster
2021 Lancaster Music Festival Art Exhibition
The Lido Open, The Lido Stores, Margate
Abstract, Fronteer Gallery Sheffield
Refresh, Fronteer Gallery, Sheffield
This Years Model, part III, Studio1.1, London
In the Open, Ryedale Folk Museum, Hutton-le-Hole, North Yorkshire
Summer Open Exhibition, D31 Gallery, Doncaster
2020 Royal Cambrian Academy open exhibition, Conwy, Wales
2019 Wales Contemporary, Waterfront Gallery, Milford Haven, & Mall Galleries, London
Hull Open, Ferens Gallery, Hull
Paper Art Festival, The Peoples Palace, Sofia
2018 NN Open, Northampton
Hope & Home, Workers Gallery, Porth, Wales
Hull Open, Ferens Gallery Hull
Waterside Open, Waterside Arts Centre, Sale Manchester
2017 Amateras Mini Paper Art Exhibition, Gallery Finesse, Sofia, Bulgaria
Lichfield Art Prize, finalist, Lichfield Cathedral
Legend, Moma Machynlleth, Wales
[Kun:st}Preis International, Galerie Kerstan, Stuttgart
Small Faces, Solent University Gallery, Southampton
2016 Peterborough Open, highly commended award, judged by Sarah Brown,
Dale Devereux Barker, Yasmin Canvin
International Postcard Exhibition, Surface Gallery, Nottingham
2015 Neo Art Prize, Gallery 27. Bolton Market Place, Bolton, selected by
Ian Davenport, Amira Gad, Margot Heller, and Helen Phelby.
Shoosmiths Art Prize, Milton Keynes Arts for Health selected by
Baroness Wall, Sophie Hall, Julia Alvarez, Gary Assim.
Oriel Wrexham selected by John McClenaghen
2014 9th International Biennial of Drawing, Pilsen, Czech Republic
2013 Finalist, Modessqe 1st painting contest, Skwer, Warsaw
The Big Draw at Tokarska Gallery, London
'Drawing' Salisbury Art Centre, Salisbury
Ludlow Open, Ludlow selectors; Christopher le Brun,
Ann de Charmant, David Keaton-Roberts, Nathaniel Pitt
2012 Neo Art Prize, Bolton selectors; Kwong Lee & Aileen McEvoy
2011 Arqadia award for a work in monochrome, Society of Graphic Fine Art
2010 ArtWorks open, Barbican Arts Group Trust, London selected by
Timothy Hyman & Graham Crowley
2009 Drawn In, Sidcot Arts Centre, Winscombe, Somerset
2005 Jerwood Drawing Prize selectors; Stephen Farthing, Martin Kemp,
Dr Sarah Simblet
1995 John Moores 19, prizewinner selectors; Frances Spalding, Timothy Hyman,
Basil Beatie, Alex Kidson
1992 Lucy Morrrison Memorial Award, Royal Overseas League
1990/2 Royal Academy Summer Exhibitions
1989 Aeneas Travelling award (Royal Academy)
Bibliography
2021 City Lines review written by Sean Williams published on a-n Reviews
2017 Nottingham Post, April 15th
2016 Digging into the Quicksands of Time, Anna McNay, http://art-corpus.blogspot.com/
2015 Overlooked, Introduction by Paul Allender, Sheffield University
Interviewed for 'Provence TV', SIAC Marseille, France
2014 Review: Essential Elements, St. Brides Gallery, Liverpool text by Sinead
Nunes posted online by Lauren Velvick September 14, 2014
The State of Art, Landscape & Portrait #1, Bare Hill Publishing
The State of Art, Representational & Abstract #2
2013 Modessqe Art Magazine September, Cracow
2012 Tribe Magazine, online international creative arts magazine Issue 1
New York Arts Magazine Spring 2012
Begehungen no.9, Chemnitz
2007 David Briers, text for 'Short Frieze'
Collections
Societe Paul Ricard, Bandol, France
Beldam Gallery, Uxbridge University
Royal Overseas League, London
Private Collections:
London, Marseille, Bordeaux, Mulhouse, Colmar, Vallauris, San Sebastien, Chemnitz, U.S.A., Manchester, Colchester, Sheffield, Southport, Liverpool, Plymouth, Ludlow, Newhaven, Eastbourne
sales in 2024
2 pieces sold by the Lido Stores Margate
1 watercolour sold by The Green Man Gallery, Buxton
1 oil painting sold in the Street Art Exhibition, Surface Gallery, Nottingham
1 oil painting sold from the Big Art Show, Paisley, Scotland
2 oil paintings sold from my solo exhibition at APS gallery, Leeds
2 watercolours and 2 oil paintings sold from my solo exhibition at the Old Chapel Gallery, Sheffield
1 watercolour sold by Cupola from the exhibition Joyful
1 watercolour sold from the exhibition 'Art by Chance', Mill Gallery, Leeds