Header Images: Left- Anthony Carey – Alexandra,The Keystone Right- Newnes’ Pictorial Encyclopedia, Volume 9, On things that interest you and me. A stone Key.

For pre-sale enquiries please complete the online form HERE

(Please note prices for the UK and European Door to Door project are in Euro. Prices for the Australian based project are in Australian dollars)

Click on Title or ‘Read More’ to expand, then click image to enlarge. 

This is an evolving online exhibition, more works will be added as they are completed – check back from time to time!

3
No
Detail
Detail
None
1
1000000
Name...
/10939-2/
Detail
(1040) Stella Pfeiffer - How rocks have grown Image
(1040) Stella Pfeiffer - How rocks have grown
Artist: Stella Pfeiffer
Medium: Drawing, Pigment-Fineliner
Dimensions: A4
900
(1020) Tamsin Noronha- Wrapped Up Image
(1020) Tamsin Noronha- Wrapped Up
Artist: Tamsin Noronha
Medium: Collage.
Dimensions: A4
120
(1060) Helen A Taylor - Garden Friends Image
(1060) Helen A Taylor - Garden Friends
Artist: Helen A Taylor
Medium: Woodcut coloured with watercolour.
Dimensions: A4
55
(1072) Soniya Amritlal Patel-Kashmiri Winter, Women in Focus Image
(1072) Soniya Amritlal Patel-Kashmiri Winter, Women in Focus
Artist: Soniya Amritlal Patel
Medium: Watercolour, Photography, Mixed media, Collage and Digital Art
Dimensions: A4
325
(1056) Sara Dochow - Across the Great Divide Image
(1056) Sara Dochow - Across the Great Divide
Artist: Sara Dochow
Medium: Paper, embroidery thread, beads, paint, silk
Dimensions: A4
250
(1005) Isabelle Catucci - Monument obelisk Nile sky The missing half - Project Place de la Concorde Paris - Luxor (Tebas) Image
(1005) Isabelle Catucci - Monument obelisk Nile sky The missing half - Project Place de la Concorde Paris - Luxor (Tebas)
Artist: Isabelle Catucci
Medium: Project of installation / watercolor and references maps. Printed.
Dimensions: A4
100
(1076) Gema Navarro - Metallic Chimera Image
(1076) Gema Navarro - Metallic Chimera
Artist: Gema Navarro
Medium: Photography.
Dimensions: A4
80
(1018) Anne-Bénédicte Girot - Profondeur / In depth Image
(1018) Anne-Bénédicte Girot - Profondeur / In depth
Artist: Anne-Bénédicte Girot
Medium: Cyanotype + ink
Dimensions: A4
280
(1093) Valerie O
(1093) Valerie O'Regan- Red 1
Artist: Valerie O\\\'Regan
Medium: Cyanotype with red Acrylic Ink
Dimensions: A4
150
(1096) Tracy Davidson - All Work No Play Image
(1096) Tracy Davidson - All Work No Play
Artist: Tracy Davidson
Medium: Embroidered digital print on vintage table napkin
Dimensions: A4
190
(1038) Judith Shaylor - The Conkers’ Game Image
(1038) Judith Shaylor - The Conkers’ Game
Artist: Judith Shaylor
Medium: Water based oil on paper
Dimensions: A4
350
(1045) Sabine Skodda - Fragments hidden in frozen sea Image
(1045) Sabine Skodda - Fragments hidden in frozen sea
Artist: Sabine Skodda
Medium: Polaroid photographs, acryl, plastic film
Dimensions: A4
250
(1034) Claudia Matoos - STAY AT HOME IN 2020 Image
(1034) Claudia Matoos - STAY AT HOME IN 2020
Artist: Claudia Matoos
Medium: Drawing in watercolor, graphite and color pencils on paper.
Dimensions: A4
200
(1039) Mary Harrison - Deconstructed Ice Arch Image
(1039) Mary Harrison - Deconstructed Ice Arch
Artist: Mary Harrison
Medium: Watercolour on Khadi paper
Dimensions: A4
245
(1035) Anthony Carey - Alexandra,The Keystone Image
(1035) Anthony Carey - Alexandra,The Keystone
Artist: Anthony Carey
Medium: Lapis Lazuli oil and 23ct gold leaf
Dimensions: A4
300
(1019) Tiina Lilja - This is probably the most famous picture in the world. Image
(1019) Tiina Lilja - This is probably the most famous picture in the world.
Artist: Tiina Lilja
Medium: mixed media on paper (embroidery, photo transfers on printed cotton, drawn motifs in black and gold ink)
Dimensions: A4
175
(1015) Inês Cannas - Inês Cannas - The mist of my dreams - page 295 Image
(1015) Inês Cannas - Inês Cannas - The mist of my dreams - page 295
Artist: Inês Cannas
Medium: MIXED TECHNIQUE ON LINOCUT PRINT
Dimensions: A4
350
(1050)Yasemin Senel - Ishtar (Ornaments from the royal graves at Ur) Image
(1050)Yasemin Senel - Ishtar (Ornaments from the royal graves at Ur)
Artist: Yasemin Senel
Medium: Acrylic, charcoal, acrylic marker and pencil on paper
Dimensions: A4
1350
(1016)Conceição Abreu - Movement and Stillness. (2020) Image
(1016)Conceição Abreu - Movement and Stillness. (2020)
Artist: Conceição Abreu
Medium: Photography, embroidery and gouache paint on papier. Dimensions: A4
Dimensions: A4
200
(1033) Lon Lee - Mounting the Bones of a Dinosaur Image
(1033) Lon Lee - Mounting the Bones of a Dinosaur
Artist: Lon Lee
Medium: Mix Media & Digital Painting
Dimensions: A4
290
(1042) Isabella Thermes - Fig.13 - A Walk in the Woods Image
(1042) Isabella Thermes - Fig.13 - A Walk in the Woods
Artist: Isabella Thermes
Medium: Ecoline liquid colours, Copic markers, 0, 05 isograph pen on 300gsm cold pressed paper
Dimensions: A4
400
(1049) Monica Sarobba - They are coming Image
(1049) Monica Sarobba - They are coming
Artist: Monica Sarobba
Medium: giclee print from mixed paper and digital collage
Dimensions: A4
220
(1025) Lyn Kirkland - INfidelity Image
(1025) Lyn Kirkland - INfidelity
Artist: Lyn Kirkland
Medium: Digital image printed on layers of tissue paper, sealed with encaustic wax on Fabriano paper.
Dimensions: A4
150
(1040) Stella Pfeiffer - How rocks have grown
900
(1040) Stella Pfeiffer - How rocks have grown Image
About this artwork

The drawing “How rocks have grown” is a graphic translation of the formation of sedimentary rock, which is characterized by a stratification of heterogeneous layers of sediment. During the process of sedimentation, organic and non-organic loose materials of gases and liquids are deposited at the bottom of water bodies or dry land. The initially loose particles become increasingly compact as a result of pressure and temperature influences and solidify into differently composed rock layers, which have formed the oceanic and continental crust with the mountain ranges over the course of geological periods.
In my work I start from the idea that each drawing line corresponds to a sedimentation layer. The line formations translate the different forces acting on each other by the heteromorphic rock layers. The denser the lines are, the greater the forces acting on them, the harder the rock is. Softer rock, implemented in loose line formations, is formed by the hard rock layers by sliding past them.
While drawing I trusted my imagination and fantasy and the picture grew out of itself. The result is a very lively, moving, abstract, imaginary rock landscape, in which it constantly pushes, glides, grows, creates, forms and reshapes. The lines, however, are not only a topography of an imaginary rock landscape, but also a topography of time, in which movement and change are constant. Thought of as a rock landscape, the drawing also offers space for individual associations.

About Stella

My main working medium is drawing. I am inspired by nature, especially by landscapes, the sky, mountains, rock formations, simple stones and many other things I find and see in my environment. In the course of time I have developed different visual languages as well as work cyrcles, on which I continue to work, develop and expand continuously. My artistic work is characterized by a wide range of diversity, because I never do the same thing too often.
I do not work figuratively, but abstractly. I usually work in small formats, process-oriented and associative. During the creative process, memories of what I have seen, experiences, imagination and fantasy play an important role in the creation of images. Each work is created on the picture carrier from the respective moment.
My drawings are characterized by tension-filled moments of movement, in which the most diverse forces manifest themselves in fragile equilibria: In terms of content, I deal with the sensual perception of reality, which is constantly changing and cannot be captured. The perception is always fragmentary, although the senses think they can recognize a whole. The “world” and that which I, as a draftswoman, perceive from it, translate into pictures and make visible, is thus a moving space-time structure on the picture carrier, which enables new, individual references and resonance spaces, i.e. extensive fields of association for the viewer.

Link to Stella’s Art Aviso profile HERE

Stella was provided with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Volume 1
The story of the World in the days of long ago.
Where the Earth’s story is written
Artist: Stella Pfeiffer
Medium: Drawing, Pigment-Fineliner
Dimensions: A4
(1020) Tamsin Noronha- Wrapped Up
120
(1020) Tamsin Noronha- Wrapped Up Image
About this artwork

This work, “Wrapped Up”, is about global warming and animal extinction.
Our Earth is becoming increasingly overwhelmed by global warming caused by large amounts of deforestation and pollution. Because of this, animals are becoming endangered for a variety of reasons such as human influence, loss of habitat, pollution and climate change. So many ecosystems are being destroyed on a daily basis and many species have experienced pollution events that have caused death or a threat to their habitat.
In my collage, I used bubble wrap and carton packaging as the base to suggest waste and to also bring texture to the piece. The sky is to create a dream-like feeling, which may refer to heaven for some. The poem is composed of the text on the Encyclopaedia page I received which was about prehistoric animals. I wanted to take that and make it more current and relevant to today’s crises.

About Tamsin


My work is influenced by my home India, where I grew up; the diversity and chaos of it. The patterns, the colours, the intricacy of the architecture and of the people. The bright orange fish curry, the shells and syringes washed up on the beach, the paddy fields of love and the tiny 2 square meter shops on the road-side that sell everything under the sun from packets of Lays crisps to sachets of face wash. I am half British and live in the UK now which is colourful, chaotic and diverse in a different way. This brings about a fusion of style and sentiment which inspires my art. I aim to immerse viewers into a world where anything is possible. The intertwining of different realities, cultures and dimensions help in creating this world where the viewer is free to explore and contemplate. Being a multicultural artist I want to spread emotion, colour and diversity. I want to trigger thoughts and bring about curiosity and fascination.

Link to Tamsin’s Art Aviso profile HERE

Tamsin was provided with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Volume 1
The story of the World in the days of long ago.
Animals of Prehistoric Times 2
Artist: Tamsin Noronha
Medium: Collage.
Dimensions: A4
(1060) Helen A Taylor - Garden Friends
55
(1060) Helen A Taylor - Garden Friends Image
About this artwork

‘Garden Friends’ was made in response to the Encyclopaedia page I was sent from Newnes’ Pictorial Knowledge Encyclopaedia Volume 6 
The World and its work-Agriculture, producing food from the land 
Some members of the insect family.
This tied in well with my work which is about man’s relationship with our planet and the influences we have over our environment. I chose insects from the page which are known to be helpful to gardeners and farmers, the Hover Fly and Ladybird which predate on pests harmful to garden plants and crops, these are garden friends and can replace harmful pesticides when allowed to flourish.
The structure I have depicted in my print is loosely based on The Crystal Palace designed by Joseph Paxton and originally built in Hyde Park, London, to house the Great Exhibition of 1851, Paxton was a renowned garden designer and his work and principles are inspiring to me, he used the leaves of the giant waterlily Victoria regia as a blueprint for the design of The Crystal palace, a fascinating partnership of plants with manmade objects.

About Helen

The main interest and inspiration in Helen Taylor’s art has always been the natural world and living forms. She is especially interested in trees and plants, and the ways in which we influence and change our natural landscapes, the effects of human activity, the relationship between organic and built environments.
Taylor is primarily a printmaker working in Lino and woodcut, recent work combines woodcut prints with hand-colouring in watercolour. Giving a greater range of colour, detail and texture to better fulfil the artist’s intention, which is to explore the natural world of trees, plants and flowers, and the amazing variety of colour and shape, the sheer diversity of what can grow in our own back gardens. And to explore plants which are bred and live in ‘captivity’; a possible future for many plant species, and for our experience of them, certainly those which may not be able to survive and adapt to long term changes to their environment.

Link to Helen’s Art Aviso profile HERE

Helen was provided with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Volume 6
The World and its work-Agriculture, producing food from the land.
Some members of the insect family
Artist: Helen A Taylor
Medium: Woodcut coloured with watercolour.
Dimensions: A4
(1072) Soniya Amritlal Patel-Kashmiri Winter, Women in Focus
325
(1072) Soniya Amritlal Patel-Kashmiri Winter, Women in Focus Image
About this artwork

This artwork blends watercolour, photography, collage and digital art printed on Hahnemühle William Turner watercolour paper.

The piece pays homage to the strong, defiant and resisting women of Indian administered Jammu and Kashmir, and their ongoing fight for basic rights, peace and wellbeing.

Apart from the history and actual events occurring in Jammu and Kashmir, the point of departure that inspires this piece comes from page 115 of volume 4 of the 1950’s Newnes’ Pictorial Knowledge Encyclopedia, titled ’Preparing for the Winter’. The image which is my source for this project shows Russian women preparing for the bitter cold winter by filling gaps and applying wet clay to the gaps and crevices of their wooded homes.

Jammu and Kashmir, located in the Himalayas is ethnically diverse and famous for its stunningly beautiful lakes, pastures and snow-capped mountains. However, the winters, like in Russia are bone-chillingly bitter, commonly denominated as Chillai-Kalan.

Typically, women bear the load, quite literally on their heads, of carrying firewood while stocking up for the challenge of surviving the chills of Chillai-Kalan. This also involves collecting water, food rations, and other supplies, a staggering task in the rural areas of the region.

Women also bear the biggest brunt of conflicts usually instigated by men. In Kashmir women are becoming increasingly visible and vocal crying out and making their voices heard as they participate in protests rebelling against the boundaries of traditionally expected gender roles.

This artwork seeks recognition of the struggles and successes of extraordinary women worldwide.

About Soniya


I am inspired by an enduring motivation that feeds all my art production. The passion to cure the blues, to bring about deep joy, and help soar towards the heights of what one most seeks. In Lucian Freud’s words, I strive ”to astonish, disturb, seduce and convince”.
British born from India, I grew up in different parts of Africa. This must be why I have always been profoundly fascinated by people and cultures. The human drama, life as lived in ways that might seem ordinary, but are in fact extraordinary. People united by common needs, separated by prejudices and ignorance. I search for answers to a not wholly understood quest, through paint, colour and any media available.
I believe that any artistic creation ought to be spiritual, intellectual and take advantage of emotions. Art speaks of the sensitivity and gravity of imbalances.
Art may not always directly lead to social change, but it can open our eyes to what we have failed to see previously, what we refuse to see, what life inadvertently tells us. I firmly believe as Edgar Degas stated, often ”art is not what you see but what you make others see”.

Link to Soniya’s Art Aviso profile HERE

Soniya was provided with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Volume 4
The story of the world and it’s peoples.
Preparing for the Winter
Artist: Soniya Amritlal Patel
Medium: Watercolour, Photography, Mixed media, Collage and Digital Art
Dimensions: A4
(1056) Sara Dochow - Across the Great Divide
250
(1056) Sara Dochow - Across the Great Divide Image
About this artwork

The image sent me was from ’Newnes’ Pictorial Knowledge Encyclopedia, Volume 9, June and Robin learn Geography From Lake to Ocean’. It depicts a river running out to sea through a seemingly tranquil valley. I live off a long dirt road, surrounded by natural beauty, far from the madding crowd. But I rely on travel to connect regularly with my family, scattered from Singapore to NY. In this year of isolation, with travel an impossibility, the longing for a river to carry me out to sea and land me on the other side of the world has never felt so keen. With danger and evil lurking behind every move, I am left to stand on shore and imagine the embrace of loved ones. I lieu of an embrace, I watch the pink clouds in the evening as they make their way towards night. I stand firmly planted and wait for the stars to come out and transport me.

About Sara

I am a mixed media artist living on a small olive farm in northern Spain. I was born in Tokyo, Japan, carry a US passport, but consider myself a citizen of the world. My creative practice is merely an extension of my global view, a language to carry me from place to place. I hold a Masters of Fine Art in painting, but my interest has always been in mixed media; paint, textile, craft. As a five year old, sitting in a stiff backed chair in a convent in southern Spain, I was seduced by the great peace and joy the internal world of artistic expression offers. One can travel anywhere in the world and connect through art. One can gesticulate their way through a ”conversation” with another human who is brought to tears by great beauty, by the creative voice. Color, texture, composition, subject matter, all these elements hold universal meaning.

Link to Sara’s Art Aviso profile HERE

Sara was provided with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Volume 9
June and Robin learn Geography.
From Lake to Ocean.
Artist: Sara Dochow
Medium: Paper, embroidery thread, beads, paint, silk
Dimensions: A4
(1005) Isabelle Catucci - Monument obelisk Nile sky The missing half - Project Place de la Concorde Paris - Luxor (Tebas)
100
(1005) Isabelle Catucci - Monument obelisk Nile sky The missing half - Project Place de la Concorde Paris - Luxor (Tebas) Image
About this artwork

The project for ’Monument obelisk Nile sky’ is a proposal to install a sculptural object, in the form of an inverted obelisk, with materials opposite to the originals. The obelisks were initially placed in Egypt as signs for the temples, with reference to sunlight and sky, arranged as portals, with inscriptions about the history of the place. The transposition of one of Luxor’s obelisks to the city of Paris, replaces the meaning of the monument, in a representative square for the French people. In European and American cities, the obelisk was popularized as an individual monument, with symbols linked to power.
In this project, designed for the Place de la Concorde, in Paris, the original obelisk is accompanied by a sculptural object of equal size and shape, but of different materials and position. The new obelisk maintains the European pedestal, is transparent and shows the evaporated water of the Nile River. The dialogues between eternity, civilization and nature in this project are redirected, with other strands of discourses.

note: In Luxor- Egypt, another inverted monument can be installed, with water from the Seine.

Although the project is almost absurd, it is an invitation to think about appropriation, nature, the identity of cities and the replacement of symbols by different cultures.
Description:
1. Watercolor.
2. Map that frames Egypt and France.
3. Map of the Place de la Concorde in Paris
4. Photo: reflection of Nile water
5. Detail of the obelisk top
6. Structural study of the obelisk.

About Isabelle

Researcher in the field of sculpture and ceramics, Catucci develops works that aim to shift the relationship between materiality and spatiality. Interested in the process of signifying objects and the world, she works on several techniques, with the aim of intersecting perceptions about everyday life and nature. Brazilian, currently based in Portugal, where she holds a PhD in Fine Arts. She held several individual and collective exhibitions in Brazil, where she graduated in sculpture with a master’s degree in anthropology, where she investigated the relationship between public art and society. Recently, her works are about of the processes of signification and appraisal of the soil-land-Earth concept in visual arts. Different languages ​​and techniques, such as installation, draws, photos, painting on tiles environmental art, show dystopias and different perceptions about the condition of the land, exploration or ecological issues. The works arise from debates and reflections on possibles futures, contemporary imagination on the planet and earthly living conditions.

Link to Isabelle’s Art Aviso profile HERE

Isabelle was provided with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Volume 9

Early Civilisations
Plate 1-Egypt

 

Artist: Isabelle Catucci
Medium: Project of installation / watercolor and references maps. Printed.
Dimensions: A4
(1076) Gema Navarro - Metallic Chimera
80
(1076) Gema Navarro - Metallic Chimera Image
About this artwork

The Lammasu, hybrid creatures that in modern language we could call chimeras, guarded the gates of Assyrian cities, like the great Babylon. At the sight of these imposing winged creatures with the body of a lion and a human head, all impure of heart fell struck down, ensuring peace in the vast territories of the great, powerful Assyrian empire. But the empire fell and the guardians froze in the horror of their helplessness. The few who were not plundered today face the destruction of civil wars and the rejection of idolatry, just like the people they once protected. The arteries of the Tigris and the Euphrates are today watered with conflicts of interest and what once gave life, today sows death. The only chimera that remains there is called peace and the only dream, flying through the skies on the back of an airplane that takes them away from devastation.

About Gema

Shape, volume and space are elements that fascinated me ever since and generated the need to understand their relations. That led me to study arts and get into the field of Sculpture, starting with the analysis and experimentation, inspired by sources such as ancient Egypt and Greece, Julio González or Oteiza. Although I specialized in stone carving in Carrara, Italy, I’m also trained in drawing, painting and design.

Nowadays I find myself in a moment of reinvention through the research of other disciplines such as photography and digital collage, wich seem perfect to me in these isolation moments, to capture the scenes (almost science fiction) that surround us lately. As reference, authors like Escher or Magritte.

I intend to express not just my own perception of the world, but to reflect the human being and circumstances and conflicts of our time, increasingly bizarre and yet artistically interesting.

Best of luck and stay safe, Gema Navarro.

Link to Gema’s Art Aviso Profile HERE

Gema was provided with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Volume 9

Early Civilisations
Plate 3-Babylon and Assyria

Artist: Gema Navarro
Medium: Photography.
Dimensions: A4
(1018) Anne-Bénédicte Girot - Profondeur / In depth
280
(1018) Anne-Bénédicte Girot - Profondeur / In depth Image
About this artwork

When I received my encyclopaedia page, I was surprised because it seemed to fit me perfectly, so much so that I wondered if it was sent at random. Indeed, I have already worked on fingerprints and I use very fine lines a lot in my artwork. And this is precisely why the assignment of this exhibition was both tricky and interesting for me. How could I deepen what I had already done on this subject and how could I make the image I received my own?
For more than a year, I have been exploring the ancient photographic technique of cyanotype, using it to make photograms. The parallel between fingerprints and the spectral prints left by the plants I place on the sensitive surface was obvious. I chose to create a negative with lichen collected in the Black Forest, for its organic side, with sinuous lines, and to incorporate the numbers that caption my encyclopaedia page. There, fingerprints are used to list and classify criminals, but above all, they are proof of our uniqueness. Their lines correspond to the other lines of our body and of nature.
Do they reveal something more intimate, more secret about us?

About Anne-Bénédicte

I am a french artist splitting time between Paris and Berlin.
For a long time I confined myself to photography, even if it frustrated me, because that’s what I had studied more precisely and because painting and drawing intimidated me.
Five years ago, I finally took the plunge into drawing and engraving, quite frantically, completely abandoning photography. My main source of inspiration is the vegetal world, which is an incredible provider of lines and patterns, which are by turns impressive, hypnotic, frightening, moving. I explore inner, esoteric and organic landscapes, combining the graphic of lines with the random stains of watercolour and inks that spread, on the edge of abstraction.
My recent interest in the cyanotype technique has permitted me to rediscover the pleasure of photography and to combine it with my graphic research. For me, it’s like the meeting of several tracks that have been present in my artwork for a long time. A kind of high point, of which I am still experiencing all the possibilities.

Link to Anne’s Art Aviso profile HERE

Anne-Bénédicte was provided with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Volume 9

On things that interest you and me
Tell Tale Marks

Artist: Anne-Bénédicte Girot
Medium: Cyanotype + ink
Dimensions: A4
(1093) Valerie O'Regan- Red 1
150
(1093) Valerie O
About this artwork

My response to the image is an admission of cultural perceptions and referencing of Russian Constructivist symbolist shapes and forms working in part harmony and in contrast to the pre-soviet era traditional forms.
“The constructivists worked in materials, but in an abstract fashion, as a formal problem mechanically applying technique to their art. Constructivism did not take into account the organic relation between the material and the tensile capacity, its working character. Essentially it is only as an outcome of the dynamic force resulting from these mutual relations that a vitally inevitable form is born” Camilla Gray.
I have used the alternative photographic process of Cyanotype to capture a nostalgic and other worldly view of St Basil’s Cathedral in contrast to the vibrant and sloganistic brushstroke of the red ink.

About Valerie

“Because human identity is woven within place those that disappear, the ones that come and go, are disconcerting. Lost places hint at hidden histories as well as alternative futures.” Alastair Bonnett

I am drawn to the romanticism of rural relics, defunct rusting metal and crumbling stone representing monuments past and past lives. I am transfixed by these disparate fragments and their imagined stories and the excitement gained with chance discoveries of clues and marks from the past.

I live rurally surrounded by coastline and forestry. I photograph, record through drawing, note taking in situ before returning to the studio to print using the early 19th century process of Cyanotype. From these cyanotypes I make collages/cut-outs on Intaglio and Collagraph plates ready for ‘reprinting’ into final compositions.
Collage, and layering of processes on the page follows and responds to the notion of the surrounding landscape having the same layering, the same collage of disparate processes and functions.

Sometimes the environment is hard to comprehend. Individual happenings, functional interventions make sense, but over time meaning becomes obscure and somehow arbitrary, messy, but in a satisfying way. The works recreate this sense.
It cannot be arbitrary, when some experienced compositions, relics and materials, seem to vie for attention.
Valerie O’Regan 2020

Link to Valeries’s Art Aviso profile HERE

Valerie was provided with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Volume 4

The story of the world and it’s peoples
The Red Square Moscow

Artist: Valerie O\\\'Regan
Medium: Cyanotype with red Acrylic Ink
Dimensions: A4
(1096) Tracy Davidson - All Work No Play
190
(1096) Tracy Davidson - All Work No Play Image
About this artwork

Page 227; Dolls, Cars and Horses That Move.
That I was allocated this page was quite apt for me as my work is strongly informed by my childhood. Because of this I found it a really evocative image. I decided to use part of the imagery from the page depicting 2 women assembling dolls. I created a digital image which I printed only a vintage napkin. I focused on the woman in the foreground by stitching details into her face, hair & clothing to lift her off the page and give her an importance which she may not have felt by doing such a mundane job. Despite her job being mundane it was an incredibly important one, in my view, as it would’ve brought joy to hundreds of children. Women’s work during the 1950’s, and still today in many respects, was not valued and they often worked long hours In poor conditions for very little money. Despite changes for the better in recent years, there is still a long way to go for women to get the respect and recognition they deserve in the workplace. I am happy that I was randomly given this particular page so that I could highlight this issue that is close to my heart.

About Tracy

My work is strongly informed by my childhood memories & experiences. My father served many prison sentences and in my work, I express how his confinement affected my family and also notions of lost childhood. In addition I focus on my beloved grandmother’s battle with Alzheimer’s. She was a very strong woman who suffered much adversity in her life. She has always been a constant inspiration to me in many different ways and I owe a lot of my values to her.
Within my work I explore ideas of fading memories and the loss of the essence of a person to the devastating illness.
I use vintage textiles including handkerchiefs, napkins, baby clothing and doilies to print and stitch onto. Words, as well as images of personal objects from my past, feature strongly in my work.
Since the COVID pandemic I have begun to make my work again after a couple of years of abstinence. It has helped me with my mental heath and I have found it very satisfying and therapeutic.

Link to Tracy’s Art Aviso profile HERE

Tracy was provided with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Volume 9
Familiar Things and how they are made.
Dolls, cars and Horses that move
Artist: Tracy Davidson
Medium: Embroidered digital print on vintage table napkin
Dimensions: A4
(1038) Judith Shaylor - The Conkers’ Game
350
(1038) Judith Shaylor - The Conkers’ Game Image
About this artwork

Looking at the page I was given, which was an illustration of berries and fruits of the countryside painted by the illustrator Ernest Aris, my eyes were immediately drawn to the horse chest nuts and I immediately thought of my youth and playing the game of Conkers.I wanted to incorporate most of the berries and fruits into the image, but I didn’t want to reproduce an image of children playing conkers. That’s when I decided to turn the tables and create this surreal image, where the conkers themselves are playing the game using human eyes as their play things. The rest of the fruits and berries are watching the game, and a crow waits in anticipation for one of the eyes to drop to the floor. I chose Elizabethan dress to add drama and intrigue to the image, and chose to paint in oils to give the image the look of an old master painting.

About Judith

Judith Shaylor was born in Wolverhampton, U.k in 1966. At the age of 16 she studied for a BTEC at Bournville school of art, where she specialised in textiles and ceramics. She went on to study for a B.A Hons in the Drawing and Painting Department at Edinburgh College of Art, where her main disciplines were Tapestry and Printmaking.
Today the artist sees herself as a multidisciplinary artist – each idea she has, often generates the need for a different style, a different material, even at times a different mindset in order to create something original and exciting. The Artist uses paint, collage, weaving, embroidery, photography, installation to achieve her aim: to create original work which will go on to hopefully excite, intrigue, and move her audience. 

Link to Judith’s Art Aviso Profile HERE

Judith was provided with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Volume 6
The World and its work-Agriculture, producing food from the land.
Berries and Fruits of the countryside
Artist: Judith Shaylor
Medium: Water based oil on paper
Dimensions: A4
(1045) Sabine Skodda - Fragments hidden in frozen sea
250
(1045) Sabine Skodda - Fragments hidden in frozen sea Image
About this artwork

cold turns water to ice
ice turns to water turns to snow turns to water …
an endless circle of transformation
and in the depths of the sea, there are hidden fragments of time long past

The artwork is based on two pictures of the Antarctic sea changing its appearance depending on wind and temperature. Inspired by the image of endlessly recurrent changes of the physical state of water, I made a collage of various fragments of Polaroid pictures (all of the pictures of the northern sea at different weather) on an acrylic pane which was then covered by transparent paper (representing the freezing water). Above, there are more fragmented Polaroid pictures (taken from the original photos of the Antarctic sea), embedded in transparent plastic and covered by acrylic again – altogether a layered object including very different kinds of representations of sea and ice.
And all that – again – transformed by the photograph which is not more than a single arbitrary view of the whole.

About Sabine

I´ve always been fascinated by the universal law of transformation and its varied manifestations.
The senses help the brain to construe what we learned to call reality – but it´s nothing more than a functional approximation to the outer world, transformed to something we are able to understand and to deal with.
The eye of the camera has its own rules and opportunities; it opens our vision to alternative versions of the world around us – transforming and creating something new.
The photographs themselfes get their own independent existence, becoming part of the physical world and the starting point for for my own deliberate manipulations by adding heat and pressure, chemicals and colors – and time. Maybe, I´m only striving to gain control and power over the process of transformation; maybe I´m struggling to briefly snatch the picture from the flow of time – the greatest and mightiest transformer of all

Link to Sabine’s Art Aviso profile HERE

Sabine was provided with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Volume 2
True tales of high adventure
When the sea freezes
Artist: Sabine Skodda
Medium: Polaroid photographs, acryl, plastic film
Dimensions: A4
(1034) Claudia Matoos - STAY AT HOME IN 2020
200
(1034) Claudia Matoos - STAY AT HOME IN 2020 Image
About this artwork

Receiving the theme related to bees was very motivating! The social organization of the bees appeared as a metaphor to create this drawing. They do essential work and return home to do other fundamental tasks. This artwork “STAY AT HOME IN 2020” establishes a “Connection” between the “modus vivendi” of bees and at this moment when Covid-19 demands us to stay at home, to do only the essentials, to work at home and to help each other. Cooperation.
So I created my drawing with watercolor, graphite and color pencils. The colors in black and white, refer to the environment of isolation inside the house. The exterior, where life pulses vibrantly, presents the honeycomb’s tonalities. A few people appear in this artwork confined at home, young people, adults, elderly people and a child, in an attempt to represent human diversity. I pay homage to the Brazilian Indigenous Cacique Raoni Metuktire, leader of the Caiapó ethnic group, an icon of the struggle for the preservation of the Amazon Rainforest, and at the center, a black man, representing the Brazilian quilombola communities. The indigenous and quilombola communities face numerous challenges at this time of the pandemic. The whole world in its diversity needs to act to preserve the lives of all, without exception, including especially the most vulnerable minorities.In this drawing, bees interact and are integrated with human beings. They are an example of what is fundamental to the preservation of life. Stay at home.

About Claudia

Ever since I was little girl I felt like I was an artist, because of the way I observed and thought about the world. I started with classical ballet, jazz, tap and contemporary dance. My life breathed in dance and with ballet shoes came pencils and brushes to be my faithful and definitive companions.
In my work, as an artist, I have been making paintings, drawings, photographs and installations. In 2013, I developed a personal project “Art & Territory Project” in which I dedicated myself to research, constant observation of nature and landscape. This work started from the concept of “Connections” which sought to reflect on the relationships between man and the surrounding landscape. This trajectory allowed me to elaborate several reflections on these interactions with nature and the absence of the contemporary human being in the natural environment. My paintings explored other environments, such as the connections between human beings and virtual spaces. I ask myself: are we really connected? Are we connected with nature? Are we connected with ourselves and with others? Actually, with the beginning of the Covid-19 pandemic, the virtual environment is strengthened and these new Connection platforms have became fundamental for contact and work at home. This emphasis has enabled a new form of relationship, survival and interaction in times of social isolation. This crisis is a fertile field for artistic creativity and my drawing “STAY AT HOME IN 2020” seeks to reflect our time. Art is always revealing.

Link to Claudia’s Art Aviso profile HERE

Claudia was provided with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Volume 1
The marvels of insect life
The comb of the Honeybee
Artist: Claudia Matoos
Medium: Drawing in watercolor, graphite and color pencils on paper.
Dimensions: A4
(1039) Mary Harrison - Deconstructed Ice Arch
245
(1039) Mary Harrison - Deconstructed Ice Arch Image
About this artwork

Personally, I love the original photograph for its dramatic subject matter and hints of scale, as well as what can be read in it. It was not, however, going to be a cushy number. And it involved working from yet another brief! After working on and looking at it for a week or so, I wrote , ” I just have yet to find my place, grip and viewpoint on it!”
My translation from the photo of the original Ice Arch required me temporarily to ignore the portrait configuration of the page and to move back into my usual square format. I realized this could be achieved by inserting a horizon. After this, the composition became much easier to work with. That new formatting and the hint in the original text – of the ice melting in the midday Italian sun – provided the impetus to express peoples’ general concerns about the planet and, of course, the melting ice caps.  Then the lines performed their dance of sorts. And the colours and tones of sun and shadow on ice appeared a bit. I am sure there is much more to extract from this small image and will possibly return to it in the future. For now this painting has become itself and stands alone, albeit at the head of several discarded versions

About Mary

I trained as a painter, and Medical Artist. On retiring from working to other people’s briefs, I wanted to return to my first love – abstraction. My daily amblings around where I live provide the visual and physical , sometimes emotional, rhythms and forms which emerge in my current drawing and painting. When drawing, the pencil has freedom to go where it wants on the page, and the colours dictate what and where they want to be. In this way, as in my daily walks, all sorts of new delights are discovered.In giving up control to my materials, I am not giving up my influence nor my ownership of the results.
The lines and colours have been very well-trained over the years and understand a responsibility to aesthetics as well as our relationship to a multicultural art history. This might sound a bit fanciful, but it is how I feel about my practice. Over many years I have worked to commission, taught, exhibited and sold. I feel that only now , as the head of this ‘team’, am I any closer to becoming an artist.

Link to Mary’s Art Aviso profile HERE

Mary was provided with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Volume 4
The story of the world and it’s peoples.
Nature builds an Arch.
Artist: Mary Harrison
Medium: Watercolour on Khadi paper
Dimensions: A4
(1035) Anthony Carey - Alexandra,The Keystone
300
(1035) Anthony Carey - Alexandra,The Keystone Image
About this artwork

The Rosetta Stone contains a decree inscribed three times, in hieroglyphs-suitable for a priestly decree, Demotic-the language of the people, and Ancient Greek-the language of the administration.

Following the conquest of Egypt, Ptolemy, a general with Alexander the Great became Pharoah Ptolemy I. Up until the death of Cleopatra almost 300 years later Egypt was a Hellenistic civilisation with Greek as the language of the ruling class.

At the time of its discovery scholars could still read Ancient Greek, and the Rosetta Stone became a valuable key to deciphering the hieroglyphs.

This piece is based upon the colours of the ruling classes of the day. Michaels Harding Lapis Lazuli (natural ultramarine) to represent the Greek, Manetti 23ct gold leaf to represent Egyptian and white the colour of the garments of the priests.

The best Lapis Lazuli has been mined in Afghanistan for over 6,000 years and was worth its weight in gold. Along with its beauty it was believed that it had many metaphysical qualities that made it highly sought after in ancient civilisations.

The colours are applied in the order they are found on the stone with the Lapis as the bottom colour, the foundation of understanding. Linking the three sections together is a partially broken Greek meander line connecting all three scripts together.

The 23ct gold leaf contains visible brush strokes underneath with areas polised slightly to show evidence of wear.

The title of this piece ‘Alexandra’ after my wife and granddaughter.

About Anthony

Anthony Carey is a practising artist and design instructor based in Dublin, Ireland.
Incorporating drawing, painting, sculpture, photography and video into his practice allows him explore different forms of abstracted objects and ideas that evolvein an ongoing quest to distil the essence of the moment into distinctive visual remnants.
Working across a variety of media Carey’s work centres on the use of lines, shape and superimposed layers that can lead to a tangled web of interconnectedness and fragmentation of recalled emotional memory.
This recall can sometimes seem irrational as our memories become falsely intertwined with unrelated objects. The resulting meaning can change depending upon the context and the viewer. The viewer is encouraged to meet this work in their own way and on their own terms. Carey has self-published books in areas related to both the arts and also humour, as solo projects and in collaboration with family members. He has taken part in group exhibitions in galleries and book fairs in Dublin and the UK with work in private collections in Ireland, Belgium and America.

Link to Anthony’s Art Aviso profile HERE

Anthony was provided with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Volume 9
On things that interest you and me.
A stone Key
Artist: Anthony Carey
Medium: Lapis Lazuli oil and 23ct gold leaf
Dimensions: A4
(1019) Tiina Lilja - This is probably the most famous picture in the world.
175
(1019) Tiina Lilja - This is probably the most famous picture in the world. Image
About this artwork

If imitation really is the sincerest form of flattery, Da Vinci’s Mona Lisa is the finest portrait ever painted. Arguably the most famous picture in the world, she has earned her place among the most copied images too, through countless reproductions in books and in print, all the way to keyrings and tea-towels emblazoned with that mysterious smile.

Her entry in the Newnes’ Pictorial Encyclopaedia can be found in Volume 7, under Great painters of all Nations- How they lived and what they achieved, on page 13. She is iconic – and utterly untouchable. My work is very much concerned with icons and idols, but the only way I felt I could approach the Mona Lisa, was through her numerous copies, from the tastefully informative such as the black and white illustration on my allocated leaf, to the utterly absurd. A naughty Mona Lisa Halloween costumes comes to mind as a good example of the latter sort.

With this in mind, I set out to embroider and draw around a set of photo transfers featuring digitally altered snippets of the page I was allocated. Beyond scaling everything to fit a sheet of A4 paper, I made no sketch or a plan for the piece as I wanted it to assume its shape organically. Like in a game of Chinese whispers, the end result is both reminiscent of its origin and removed from it. A nuanced smile.

About Tiina

As a painter, a large part of my working day is spent in the studio. When I sketch a likeness my brushes are heavy with history: The need to affirm the relevance of my medium has contradictorily steered me in choosing subjects that are mundane, ordinary and unassuming when encountered in their natural habitat of a department store or your home. In that sense, I see myself more of a curator or an archivist of everyday than a painter.
Although I am best known for my large scale portraits of iconic brands and treasured objects, I currently work combining found imagery, i.e. photographs or prints with drawing and embroidery, with an aim to study the themes of identity and representation. My tendency to collect (or hoard) antique photographs, posters and other quirky things has lead me to develop a style of painting that reflects my passion for old fashioned curiosities, iconic brands and graphic patterns. This love of ornamentation and traditional crafts has been at the core of my studio practice since I began to paint, but it has also inspired me to keep refining my technique and to acquire new skills in the wider field of art, illustration and design.  The craft of painting, from building and priming my own canvasses to creating art and selecting pieces to be exhibited forms the skeleton of my practice. The rest is filled in by meticulous sketching, art theory and curiosity to explore the visual world around me.

Link to Tiina’s Art Aviso profile HERE

Tiina was provided with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Volume 7
Great painters of all Nations- How they lived and what they achieved.
An Art Wonder of the World.
Artist: Tiina Lilja
Medium: mixed media on paper (embroidery, photo transfers on printed cotton, drawn motifs in black and gold ink)
Dimensions: A4
(1015) Inês Cannas - Inês Cannas - The mist of my dreams - page 295
350
(1015) Inês Cannas - Inês Cannas - The mist of my dreams - page 295 Image
About this artwork

Page 295 – – The mist of my dreams – My work is very much based on landscape and nature. I spend my daily life in close relationship with both. In addition to art, my activity is also work in the countryside, which provides me with total communion with the life cycle so expressive in nature.
When I received, “The Wonders of Plant life in Forest, Field and Garden, How Plants Live and Breathe – How seeds are distributed”, I felt (again) something very close to communion.
So, as the world is going through a phase as unknown as it is demanding, in which we had to adapt and collect at home to preserve and protect lives, namely those who are most vulnerable, I started working with a new tool, completely initiatory. It had a very harmonious function, it took my time, body and spirit very intensely. I gathered the necessary materials and without thinking I dedicated myself to reproducing images in Linogravure.
I spent days digging linoleums and gouging out my landscapes, details of nature, where I believe we can feel how plants live and breathe, or even the passage of the seeds. I believe that when we turn to nature and for its protection we save the world and preserve the species that inhabit it.

About Inês

My work arises from a continuous exercise developed between painting and drawing. An artistic practice organised without concern for exact representation and where, through my hand, balance in the image is sought between its conception and freedom of self-determination, where the pictorial image acquires its own language as a kind of free writing.

My creative process is situated in the moment – in the present, in feeling – and opens itself to the imaginary plane, enabling the creation of other images which become detached from their referent.

Ultimately, they may all be the same landscape; an image I paint or draw over and over again, but which is always begun with a fresh perspective. A way of seeing in which the physical and mental, the present and memory converge. On a plane where the strange and the familiar are blurred, giving rise to new landscapes.
Just like the mist that invades my dreams.

Link to Inês’ Art Aviso profile HERE

Inês was provided with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Volume 1
The Wonders of Plant life in Forest, Field and Garden.
How Plants Live and Breathe – How seeds are distributed.
Artist: Inês Cannas
Medium: MIXED TECHNIQUE ON LINOCUT PRINT
Dimensions: A4
(1050)Yasemin Senel - Ishtar (Ornaments from the royal graves at Ur)
1350
(1050)Yasemin Senel - Ishtar (Ornaments from the royal graves at Ur) Image
About this artwork

The starting point for the creation of this work is the set of jewellery and ornaments found in a temple dedicated to the goddess Ishtar, one of the most important deities in Mesopotamia. She was the mother-goddess and symbolized fertility and fecundity. I felt very much in tune with this subject since mythology, goddess figures and fertility symbols are always very present in my work. Being born in Turkey but having studied arts in Belgium, my work is deeply inspired by cultural heritage of Middle East and Western Europe, how it meets and mixes, how it enriches each other. I have always felt deeply connected to ancient Sumerian and Babylonian civilizations, in their legends and art forms. I was therefore very excited when I received the plate about Ur and the Chaldees, and couldn’t wait to start working on this fantastic topic. This work is the first of a series I will work on in the coming weeks.

About Yasemin

Yasemin Senel was born in Turkey in 1953 and she lives and works now in Brussels, Belgium. She creates strong figurative artwork, personal and oneiric, sensitive and fierce at the same time. Her work offers fanciful childbirth linking humans to their animal alter egos, reinventing powerful founding myths. Yasemin Senel shakes up the iconography of myths to make them give up the soul in the jubilation of the gesture of painting. Between votive reminiscences and shamanistic rites, her playful trance disrupts gender conventions and plunders the figurative resources of a subject-pretext. The colour from which she extracts rare harmonies is always at the forefront of her preoccupations, exalted by colliding arrangements of planes with multiple reading spaces. Depending on the flashes of both cerebral and emotional grasping, scale discrepancies are frequent, as is the alternation of pictorial references that oscillate between esotericism and celebrations of fertility. Finally, the linear line brings the paradoxical counterpoint, unifying and finalizing the composition in a definitively moving register.

She graduated from the Académie Royale des Beaux-Arts of Liège (Belgium) in 1978 and shows her works since 1977 (notably in FIAC Paris, Chicago, Paris and Luxembourg more recently). She makes paintings on canvas or paper, and drawings.

Link to Yasemin’s Art Aviso profile HERE

Yasemin was provided with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Volume 9
The story of the early civilisation in the worlds history.
In Ancient UR of the Chaldees
Artist: Yasemin Senel
Medium: Acrylic, charcoal, acrylic marker and pencil on paper
Dimensions: A4
(1016)Conceição Abreu - Movement and Stillness. (2020)
200
(1016)Conceição Abreu - Movement and Stillness. (2020) Image
About this artwork

I’m a Portugal-based visual artist whose practice develops in the interstices of textiles, drawing, sculpture, performance, photography and video. I construct trajectories and cartographies through repetitive movements that arise from relationships that she creates between body and space. Organized in a haptic field — tactile and kinesthetic, in dynamics that are established between interiority and exteriority, present and memory — those relationships acquire shape and visibility through threads and lines. Elements that superimposed and intertwined, map a relational space-time where emerges a geography with a global sense of place.
Responding to the sent black and white image, a spider´s frozen web — page 244 of the Newnes Encyclopedia of Pictorial Knowledge of the 1950s (edited by Enid Blyton) —, the artwork references the process with which the spider extends her lines in a create relation to the environment, using a repetitive movement. Constructive process that is reflected, in this artwork, in the way haw the white thread is embroidered: the same repetition, stitch by stitch, supported on the photography’s surface. Reminiscences how the spider positions its web, the embroidered thread results from the relationship created with the pre-existing drawing in the image, that represent a skein that I have in my hands. Overlaps and interlaces that, as in the case of the spider, are structured in movement and stillness, creates a relational space-time which is perceived as a geography with a sense of place.

About Conceição

I understand my work as a praxis space. In the interstices of textiles, drawing, sculpture, performance, photography and video, I constructed paths (trajectories) and geographies. My practice is structured by repetitive gestures and body movements, in a process that becomes almost meditative, but at the same time, it is open to new organizations. Far from the idea that the routine of everyday experience is monotony, the systematization in repetition has, in my work, an aesthetic role of poetic virtue (poiese).I understand repetitive movement as a territorial movement. A practice that generate relationships between body and space, in dynamics established between interiority and exteriority, present and memory. Organized in a haptic field, tactile and kinesthetic, those relationships acquire, during the practice, shape and visibility through threads and lines, elements that I inscribe, superimpose and intertwine as drawings – objects and images, understood as geographies of those interconnections that arose of an experience of searching for a global sense of place.

Link to Conceição’s Art Aviso profile HERE

Conceição was provided with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Volume 1
The story of animal life – Creatures of the land, air and sea
The Spiders Frozen Home
Artist: Conceição Abreu
Medium: Photography, embroidery and gouache paint on papier. Dimensions: A4
Dimensions: A4
(1033) Lon Lee - Mounting the Bones of a Dinosaur
290
(1033) Lon Lee - Mounting the Bones of a Dinosaur Image
About this artwork

What is left behind a living being once walked the earth 76 million years ago, for human beings to find, are the fragments of existence, traces of the truth that somewhere in time who was there, existed. A floral celebration of life, from the ancient reptiles to the modern day human being, we are all connected through life and death. We are born from dust and shall leave as dust again.

This particular artwork is created for the Door-to-door project – Art in the time of Covid-19. The Mounting the Bones of a Dinosaur – the age of reptiles, is a page taken from Newnes’ Pictorial Knowledge 1950’s Encyclopaedia. The artist was inspired and drawn to the beautiful lines and symbolism of the historical skeletons in this vintage image. By adding ink lines and digital painting that mimics the shapes of the rib cage and spine, it forms the structure of the artwork and the painted floral motifs represent life which brings colours to the whole concept.

About Lon


Lon Lee is an art director, illustrator and painter based in London. She has a distinctive split style of works, one colourful and joyful children’s illustrative art, many of her works recorded or reflected the artist’s own life, as an imaginative illustrator, an adventurous traveller, and a friend who wishes to inspire others with joy. Behind those vibrant colours lies her inborn sensitivity towards hues and beneath the cross-hatching is her characteristic care for details. Embracing both her colourful and monochromatic natures, the artist continues to dance between spontaneous symphonies and reminiscent requiems.

The Skeleton series, produced by Lon Lee is a mix medium of ink line work, digital and oil paintings. The detailed line works and realistic flower motifs are tensile and supple, communicating the complexity and connection about truth and afterlife through art. When it comes to ambience and mood of the drawings, skeletons are not at all deadly or miserable, but a suave, debonair, and charismatic figure which celebrates life and existence as a whole.

Link to Lon’s Art Aviso profile HERE

Lon was provided with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Volume 1
The story of the World in the days of long ago.
Mounting the Bones of a Dinosaur – the age of reptiles
Artist: Lon Lee
Medium: Mix Media & Digital Painting
Dimensions: A4
(1042) Isabella Thermes - Fig.13 - A Walk in the Woods
400
(1042) Isabella Thermes - Fig.13 - A Walk in the Woods Image
About this artwork

Figure 13 from the Knowles Encyclopaedia sparked my imagination to the point where I decided to use that simple cataloguing reference as the main title for the image I have created. The fairy tale atmosphere of the Knowles image gave a further nudge to develop my own idea into a magical place where not everything makes logical sense but where everything finds, however, its perfect place shaping an alternative, more bearable reality as a result.
From the original image I have also taken the colour palette made of green, red and white (Fig.13 belonged to a “Have fun with colours” chapter/section, after all), which is almost exactly my preferred colour palette in illustration and drawing. Through these means, I have reimagined a story, whose protagonist is a modern Little Red Riding Hood (clad in a vintage red and green Tartan coat), where the wolf is replaced by a friendlier Greyhound and the hares, who have become white for aesthetic reasons, are the ultimate companions of a walk in the woods.

About Isabella

Isabella Thermes is an Italian who lived and worked in the US and London before moving to Berlin in order to pursue a career as illustrator and graphic novelist.
She has held exhibitions (“Donne e Costumi di Sardegna, at Mediateca del Mediterraneo, Cagliari, Italy in 2016) and worked on private and commercial commissions.
Her first graphic novel, ‘The Human Heart’ is currently under submission.

Her illustration style is built on creating vector images with an emphasis on colours and patterns and hand-drawn illustrations using a Rotring isograph pen and a limited palette of liquid inks: black, red and greys.
The accent is on precise, clean drawing.
Her non-vector work is often digitally manipulated and reworked as mixed-media.

A passion for graphic design but also for illustration and drawing are the forces that drive her work in two parallel directions. Graphic design and its subtraction process opens the path to exploring pure form while illustration and drawing are the preferred means to magical realism storytelling.

Link to Isabella’s Art Aviso profile HERE

Isabella was provided with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Volume 9
Fun with colours.
Fig 13
Artist: Isabella Thermes
Medium: Ecoline liquid colours, Copic markers, 0, 05 isograph pen on 300gsm cold pressed paper
Dimensions: A4
(1049) Monica Sarobba - They are coming
220
(1049) Monica Sarobba - They are coming Image
About this artwork

The vintage print I received drove me immediately to the American sci-fi movies of the 50s.
I transformed Humpty Dumpty into an unidentified object coming from the cosmic space.
As in a sort of “Invasion of body snatchers” a woman is observing the arrival of alien invaders.
The cold war paranoia and the fear of the imminent destruction during the 50s is not so different from the nowadays uncertain feelings.
Through the lens the woman is watching at the Zeitgeist of our age, the fear.
“They are coming” illustrates the persistent anxiety about everything. From global warm, virus, terrorism, wars to poverty, migrations and lost of identity. And how often we remain passive observers. The important thing is to preserve our garden, as in the perfect 1950s commercials family. For this work I deliberately used the traditional technique of collage on paper followed by digital scanning. In this way I keep a “low resolution” effect as in the pictures printed on vintage magazines.

About Monica

Kintsugi is the ancient Japanese art of repairing pottery with gold.
Being a cancer survivor and affected by a chronic pain disease, for many years I felt my body as something wrong. My art is an intimate journal that I wish to share with the viewer.
Every time I create a piece I feel a renewed bond between my mind, soul and body. Scars become beautiful lines. Through the creative process I perform on myself the art of the Kintsugi. I am not broken anymore but repaired with gold to show to my viewer that new paths are possible.  Scars can be on our body or in our heart. We can cover them with tattoos or hiddden pain with a smile. But we all have the opportunity to change imperfections into beauty and pain into personal power. Making art is the medium to reach acceptance and rebirth.
Mine is not a self-celebrating job. In a time of disturbing aesthetic perfection I wish to share my art to support anyone who feels different or discriminated because of his/her diversity.

Link to Monica’s Art Aviso profile HERE

Monica was provided with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Volume 9
Fun with Colours.
Fig 11 & Fig 12.
Artist: Monica Sarobba
Medium: giclee print from mixed paper and digital collage
Dimensions: A4
(1025) Lyn Kirkland - INfidelity
150
(1025) Lyn Kirkland - INfidelity Image
About this artwork

Page 69 of Newnes’ Pictorial Knowledge is a reproduction of the work of 18th Century French painter Jean-Baptiste Greuze’s painting entitled ‘Fidelity’.

Greuze specialised in ‘genre’ paintings portraying idealised visions rather than real life. A sexual innocence, lost or defended. Doe-eyed girls repeated on many occasions, carefully staged, with moralising titles such as ‘Fidelity’. Appearing to mate a sensuality with innocence, the sitter for this painting and many others was invariably his pretty younger wife Anne-Gabrielle Babuti. In ‘Fidelity’ the devotion is suggested by her upturned, subservient face and the small dog symbolic of fidelity.
After 34 years of marriage the relationship had soured. Suggestions of her promiscuity and greed, and his fading reputation as a painter giving a wholly new complexion to this piece. My response to the original page is a heightened colourful digital painting, suggesting confidence, allure and seduction. The original pale taffeta replaced by Scarlett robes. The light blonde hair with a fiery auburn. The small dog now replaced by a winged cat, and the title doctored to reflect the possibility of a woman with secrets and passions. Each individual colour has been printed separately onto tissue paper and layered onto Fabriano paper with encaustic wax.

About Lyn

I am an encaustic artist, living and working in Dorset, UK. The history of encaustic wax painting, as used by the ancient Eqyptians, intrigues and excites me, as does its organic properties (beeswax and damar resin). My work is driven by process as much, if not more, than subject matter. I love the properties of the wax. Painting, sculpting, casting and dipping. Pushing it to see where it will take me next. At a time when access to my Studio and encaustic tools was denied me due to lockdown, I have found a new fascination with iPad sketching, enjoying the portability and ease with which painting mediums of oil and water for instance, can be merged digitally, where in life it would not be encouraged. The logical progression for me to merge my digital imagery with encaustic paint for this exhibition has been an exciting journey. Retelling a story from a different perspective, marrying the ancient with the modern.

Link to Lyn’s Art Aviso profile HERE

Lyn was provided with the following page from Newnes’ Pictorial Knowledge Encyclopedia:

Volume 7

Great painters of all Nations- How they lived and what they achieved.
Fidelity

Artist: Lyn Kirkland
Medium: Digital image printed on layers of tissue paper, sealed with encaustic wax on Fabriano paper.
Dimensions: A4
(1040) Stella Pfeiffer - How rocks have grown Image
(1040) Stella Pfeiffer - How rocks have grown
About this artworkThe drawing “How rocks have grown” is a graphic translation of the formation of sedimentary rock, which is characterized by a stratification of heterogeneous layers of sediment. Durin... Read More
Artist: Stella Pfeiffer
Medium: Drawing, Pigment-Fineliner
Dimensions: A4
(1020) Tamsin Noronha- Wrapped Up Image
(1020) Tamsin Noronha- Wrapped Up
About this artworkThis work, “Wrapped Up”, is about global warming and animal extinction.Our Earth is becoming increasingly overwhelmed by global warming caused by large amounts of d... Read More
Artist: Tamsin Noronha
Medium: Collage.
Dimensions: A4
(1060) Helen A Taylor - Garden Friends Image
(1060) Helen A Taylor - Garden Friends
About this artwork‘Garden Friends’ was made in response to the Encyclopaedia page I was sent from Newnes’ Pictorial Knowledge Encyclopaedia Volume 6 
The World and its work-Agriculture, producing f... Read More
Artist: Helen A Taylor
Medium: Woodcut coloured with watercolour.
Dimensions: A4
(1072) Soniya Amritlal Patel-Kashmiri Winter, Women in Focus Image
(1072) Soniya Amritlal Patel-Kashmiri Winter, Women in Focus
About this artworkThis artwork blends watercolour, photography, collage and digital art printed on Hahnemühle William Turner watercolour paper.The piece pays homage to the strong,... Read More
Artist: Soniya Amritlal Patel
Medium: Watercolour, Photography, Mixed media, Collage and Digital Art
Dimensions: A4
(1056) Sara Dochow - Across the Great Divide Image
(1056) Sara Dochow - Across the Great Divide
About this artworkThe image sent me was from ’Newnes’ Pictorial Knowledge Encyclopedia, Volume 9, June and Robin learn Geography From Lake to Ocean’. It depicts a river running out to s... Read More
Artist: Sara Dochow
Medium: Paper, embroidery thread, beads, paint, silk
Dimensions: A4
(1005) Isabelle Catucci - Monument obelisk Nile sky The missing half - Project Place de la Concorde Paris - Luxor (Tebas) Image
(1005) Isabelle Catucci - Monument obelisk Nile sky The missing half - Project Place de la Concorde Paris - Luxor (Tebas)
About this artworkThe project for ’Monument obelisk Nile sky’ is a proposal to install a sculptural object, in the form of an inverted obelisk, with materials opposite to the originals. The obelisks we... Read More
Artist: Isabelle Catucci
Medium: Project of installation / watercolor and references maps. Printed.
Dimensions: A4
(1076) Gema Navarro - Metallic Chimera Image
(1076) Gema Navarro - Metallic Chimera
About this artworkThe Lammasu, hybrid creatures that in modern language we could call chimeras, guarded the gates of Assyrian cities, like the great Babylon. At the sight of these imposing winged creatures... Read More
Artist: Gema Navarro
Medium: Photography.
Dimensions: A4
(1018) Anne-Bénédicte Girot - Profondeur / In depth Image
(1018) Anne-Bénédicte Girot - Profondeur / In depth
About this artworkWhen I received my encyclopaedia page, I was surprised because it seemed to fit me perfectly, so much so that I wondered if it was sent at random. Indeed, I have already worked on fingerp... Read More
Artist: Anne-Bénédicte Girot
Medium: Cyanotype + ink
Dimensions: A4
(1093) Valerie O
(1093) Valerie O'Regan- Red 1
About this artworkMy response to the image is an admission of cultural perceptions and referencing of Russian Constructivist symbolist shapes and forms working in part harmony and in contrast to the pre-so... Read More
Artist: Valerie O\\\'Regan
Medium: Cyanotype with red Acrylic Ink
Dimensions: A4
(1096) Tracy Davidson - All Work No Play Image
(1096) Tracy Davidson - All Work No Play
About this artworkPage 227; Dolls, Cars and Horses That Move. That I was allocated this page was quite apt for me as my work is strongly informed by my childhood. Because of this I found... Read More
Artist: Tracy Davidson
Medium: Embroidered digital print on vintage table napkin
Dimensions: A4
(1038) Judith Shaylor - The Conkers’ Game Image
(1038) Judith Shaylor - The Conkers’ Game
About this artworkLooking at the page I was given, which was an illustration of berries and fruits of the countryside painted by the illustrator Ernest Aris, my eyes were immediately drawn to the horse che... Read More
Artist: Judith Shaylor
Medium: Water based oil on paper
Dimensions: A4
(1045) Sabine Skodda - Fragments hidden in frozen sea Image
(1045) Sabine Skodda - Fragments hidden in frozen sea
About this artworkcold turns water to iceice turns to water turns to snow turns to water …an endless circle of transformationand in the depths of ... Read More
Artist: Sabine Skodda
Medium: Polaroid photographs, acryl, plastic film
Dimensions: A4
(1034) Claudia Matoos - STAY AT HOME IN 2020 Image
(1034) Claudia Matoos - STAY AT HOME IN 2020
About this artworkReceiving the theme related to bees was very motivating! The social organization of the bees appeared as a metaphor to create this drawing. They do essential work and return home to do ot... Read More
Artist: Claudia Matoos
Medium: Drawing in watercolor, graphite and color pencils on paper.
Dimensions: A4
(1039) Mary Harrison - Deconstructed Ice Arch Image
(1039) Mary Harrison - Deconstructed Ice Arch
About this artworkPersonally, I love the original photograph for its dramatic subject matter and hints of scale, as well as what can be read in it. It was not, however, going to be a cushy nu... Read More
Artist: Mary Harrison
Medium: Watercolour on Khadi paper
Dimensions: A4
(1035) Anthony Carey - Alexandra,The Keystone Image
(1035) Anthony Carey - Alexandra,The Keystone
About this artworkThe Rosetta Stone contains a decree inscribed three times, in hieroglyphs-suitable for a priestly decree, Demotic-the language of the people, and Ancient Greek-the language of the adminis... Read More
Artist: Anthony Carey
Medium: Lapis Lazuli oil and 23ct gold leaf
Dimensions: A4
(1019) Tiina Lilja - This is probably the most famous picture in the world. Image
(1019) Tiina Lilja - This is probably the most famous picture in the world.
About this artworkIf imitation really is the sincerest form of flattery, Da Vinci’s Mona Lisa is the finest portrait ever painted. Arguably the most famous picture in the world, she has earned her place ... Read More
Artist: Tiina Lilja
Medium: mixed media on paper (embroidery, photo transfers on printed cotton, drawn motifs in black and gold ink)
Dimensions: A4
(1015) Inês Cannas - Inês Cannas - The mist of my dreams - page 295 Image
(1015) Inês Cannas - Inês Cannas - The mist of my dreams - page 295
About this artworkPage 295 – – The mist of my dreams – My work is very much based on landscape and nature. I spend my daily life in close relationship with both. In addition to art, my activity is al... Read More
Artist: Inês Cannas
Medium: MIXED TECHNIQUE ON LINOCUT PRINT
Dimensions: A4
(1050)Yasemin Senel - Ishtar (Ornaments from the royal graves at Ur) Image
(1050)Yasemin Senel - Ishtar (Ornaments from the royal graves at Ur)
About this artworkThe starting point for the creation of this work is the set of jewellery and ornaments found in a temple dedicated to the goddess Ishtar, one of the most important deities in Mesopotamia.... Read More
Artist: Yasemin Senel
Medium: Acrylic, charcoal, acrylic marker and pencil on paper
Dimensions: A4
(1016)Conceição Abreu - Movement and Stillness. (2020) Image
(1016)Conceição Abreu - Movement and Stillness. (2020)
About this artworkI’m a Portugal-based visual artist whose practice develops in the interstices of textiles, drawing, sculpture, performance, photography and video. I construct trajectories and carto... Read More
Artist: Conceição Abreu
Medium: Photography, embroidery and gouache paint on papier. Dimensions: A4
Dimensions: A4
(1033) Lon Lee - Mounting the Bones of a Dinosaur Image
(1033) Lon Lee - Mounting the Bones of a Dinosaur
About this artworkWhat is left behind a living being once walked the earth 76 million years ago, for human beings to find, are the fragments of existence, traces of the truth that somewhere in time who was... Read More
Artist: Lon Lee
Medium: Mix Media & Digital Painting
Dimensions: A4
(1042) Isabella Thermes - Fig.13 - A Walk in the Woods Image
(1042) Isabella Thermes - Fig.13 - A Walk in the Woods
About this artworkFigure 13 from the Knowles Encyclopaedia sparked my imagination to the point where I decided to use that simple cataloguing reference as the main title for the image I have created. The f... Read More
Artist: Isabella Thermes
Medium: Ecoline liquid colours, Copic markers, 0, 05 isograph pen on 300gsm cold pressed paper
Dimensions: A4
(1049) Monica Sarobba - They are coming Image
(1049) Monica Sarobba - They are coming
About this artworkThe vintage print I received drove me immediately to the American sci-fi movies of the 50s.I transformed Humpty Dumpty into an unidentified object coming from the cosmi... Read More
Artist: Monica Sarobba
Medium: giclee print from mixed paper and digital collage
Dimensions: A4
(1025) Lyn Kirkland - INfidelity Image
(1025) Lyn Kirkland - INfidelity
About this artworkPage 69 of Newnes’ Pictorial Knowledge is a reproduction of the work of 18th Century French painter Jean-Baptiste Greuze’s painting entitled ‘Fidelity’.Gr... Read More
Artist: Lyn Kirkland
Medium: Digital image printed on layers of tissue paper, sealed with encaustic wax on Fabriano paper.
Dimensions: A4