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Finding common ground in a fragmented world
Upcoming exhibition:
Summerhall, Edinburgh 5-11 June
Meet the artists event 5th June - FREE to attend
Explore the artists by clicking the names below.
Birute Nomeda Stankuniene
Birute Nomeda Stankuniene
Birutė Nomeda Stankunienė (b. 1963) is a Lithuanian artist based in Vilnius. After a career in engineering, she shifted entirely to art, graduating from the Vilnius Academy of Arts in 2009 and later studying at the Slade School of Fine Art, residencies in Spain, and the Contemporary Art Academy. She has exhibited in over thirty shows, with notable presentations in London and Florence, often represented by the Italian gallery Immaginaria at ARTVILNIUS. Her work appears on Saatchi Art, in IUOMA and Slow Art Day publications, and in international media. Her paintings are held in private collections worldwide.
Statement
I describe my practice as Existential Movement — abstract gestures shaped by emotion, memory, and the resilience of the human psyche. Influenced by psychoanalysis, physics, and mathematics, I use color fields, textured strokes, and linear marks to create distilled visual “formulas” of inner states.
Working across canvas, paper, and experimental materials, I explore how abstraction can hold experiences of challenge, recovery, and transformation. My titles act as bridges, guiding viewers into the emotional terrain of each work.
Marc Renshaw
Marc Renshaw
Based in Lincolnshire, Marc is an established artist whose work has been exhibited widely throughout the UK and internationally for more than three decades.
StatementMarc’s practice explores non-places and transitional zones, reflecting a long-standing interest in spaces of passage and impermanence. As a digital artist for whom drawing remains a pivotal element, Marc investigates the relationship between drawing and its broader role as an autobiographical tool for communication—one that captures memory and resonates on an intuitive, emotional level.I'm interested in self perpetuity and relentlessness; the broken record with a repetitive sensibility. It's a selfish indulgence to crack the 'same old joke' that was perhaps never really funny in the first place. I find it gratifying to blur the border between humour and sincerity, and to recycle a pun doggedly; devoid of irony and indiscriminately unheeding towards the passage of time or circumstance.
StatementMarc’s practice explores non-places and transitional zones, reflecting a long-standing interest in spaces of passage and impermanence. As a digital artist for whom drawing remains a pivotal element, Marc investigates the relationship between drawing and its broader role as an autobiographical tool for communication—one that captures memory and resonates on an intuitive, emotional level.I'm interested in self perpetuity and relentlessness; the broken record with a repetitive sensibility. It's a selfish indulgence to crack the 'same old joke' that was perhaps never really funny in the first place. I find it gratifying to blur the border between humour and sincerity, and to recycle a pun doggedly; devoid of irony and indiscriminately unheeding towards the passage of time or circumstance.
Peter Monkman
Peter Monkman
Monkman is half Danish, brought up in County Durham and currently works in York, UK. He studied art at Lancaster University, John Moores Liverpool and UCL London. Monkman has exhibited widely and is in a variety of public and private collections including the National Portrait Gallery London.
Statement
Since winning the BP Portrait Award in 2009 with a depiction of his 12 year old daughter as ‘The Changeling’. Monkman has always been interested in how appearances can be captured suggesting more complex notions of identity. As a father of 3 and an art teacher in schools Monkman has drawn on his experiences to shape artworks which explore change, appearance and cultural identity. In the last few years the Changeling concept has been extended in the doppelgänger series depicting a child meeting their double as a reflection, making reference to the digital screen that blur distinction between fiction and reality in a new world of scrolling and avatars.
Renate Maas
Renate Maas
Statement
I make small, colorful and surrealistic images and soft sculptures. These pieces reflect the patriarchal view of women and other animals as objects, while considering their subsequent treatment, and the relationship that exists between the two. My work addresses the inconsistencies in their existence and makes viewers aware of the injustices, constraints, and exploitations that happen to living beings because of their gender or species. My artistic research is based on feminist perspectives, which have traditionally been dismissed and disregarded.
The images and objects are parallel expressions for me, but they inspire each other. Figurative elements that emerge in my multi-layered and multi-perspective drawings and paintings are developed further into sculptures, which in turn inspire my two-dimensional work and lead to derivatives or descendants. I stitch and sew the sculptures from used fabric and other materials that I have at hand, or that come into my possession accidentally.
The process, materials, techniques, and sizes reflect upon feminine traditions and roles that have often been disregarded as craft in the art world. These pieces reveal and protest the instrumentalization of female bodies in a patriarchal society and the dilemmas of female life. The figures have their own narrative, which I explore and visualize in photographs and gives a voice to the unheard.
The devaluation of women and animals often shows itself through bodily restrictions and infringements, as well as spatial containment within the home or farm. My works similarly reflect restrictive spatial aspects. They are ambiguous and can unfold different shapes and meanings depending on their or the viewer’s position.
I am based in Hamburg, Germany, and hold Master degrees and a PhD in Fine Art, Art History and Philosophy, and further qualifications in Education and Business. My work has been exhibited nationally and internationally, and is represented in private collections.
For more information follow me on Instagram renatemaas_artist and visit my website renatemaas.com.
Susan E. Wilson
Susan E. Wilson
Susan E. Wilson explores abstraction as a means of conveying ideas, emotions and lived experience. Based in Sutherland, Scotland, her widely exhibited work is held in private collections across the UK and internationally.
Statement
A passionate belief in the power of the arts to effect personal and social change, has shaped my long career as an artist in my personal creative practice, through collaborative work and as an arts educator or facilitator of participatory and collaborative arts opportunities. My own individual practice is an iterative, learning process explored through the physical handling of materials, to reveal the sensory possibilities of each medium. I interpret my own physical journeys through the lens of social geography: integrating feminism, mapping, history and myth, to illuminate contemporary issues through abstract painting, collage and drawing.
Website https://susanelizabethwilson.com/
Email Artinfo@susanelizabethwilson.com
Instagram https://www.instagram.com/susan_e_wilson
Facebook https://www.facebook.com/SusanElizabethWilson
Tina Roe
Tina Roe
Tina Roe (Hertfordshire UK) uses materials to create sculpture that reflects the fragility of the human condition. Tina’s practice investigates the concept of home as self-identity. Primitive house shaped sculptures point to a profound centre of meaning and a central emotional and physical reference point. ‘Home’ often encapsulates feelings of security, happiness and belonging, but may also symbolise obligation, coercion, and social repression. It is this dichotomy that the artist is exploring in her current body of work.
Statement
The concept of home is integral to my practice but instead of focusing on the architectural materiality of a house, my work reflects intagibles such as memory, humour, identity and familly histories. I use materials to tell a story.
Valissa Butterworth
Valissa Butterworth
Residing in North East Victoria, Valissa Butterworth creates works that explore Quantum Science evidence telling us we emit an energy frequency connecting us to a universal energy field, one we can influence through our presence.
The act of thinking, believing, conceiving of an idea/action combined with our energetic frequency creates individual outcomes.
Using transformational materials in conjunction with Vivid colour and light she creates experimental sculptural works that capture these energetic shifts in space and projects them back to us exposing existential spaces that would otherwise be overlooked in our race to do life.
In slowing down, finding evidence to support her belief that we are co-creators of our world, she challenges us to look beyond what is.
Multiple exhibitions locally and internationally with various works documented in Thames and Hudson publications, Valissa established a career in Lighting and object design that includes numerous shortlists and awards for excellence across ceramics and glass, before completing a Masters in Fine art in 2021.
Post MFA education programs with the Contemporary Art academy in London continue to expand her thinking.
StatementLocated in regional Victoria my practice is concerned with space(s), the invisible energy within them, our ability affect it and the matter around it. These existential spaces, between knowing, thinking and being are found with chaotic chemical reactions in transformative materials.
Resin, wax, ceramic and plastic capture, solidify and manipulate invisible energy in motion, chemical heat burns plastic space, melts wax, slumps particles, expanding, contracting, colouring.
Experimental sculpture and projection works test our ability to influence outcomes through energetic presence referencing light and space artists use of architectural space and light as material to stretch perceptions.
Time is woven through abstract disordered layers at once past present and future. ‘between spaces’ emerge through reflected and refracted light. Genres collide, alterring the narrative, colour invades once forbidden planes where a ‘what if’ approach is favoured over meticulous planning, slowing down to find undocumented spaces.
Outcomes range from physically complex arrangements of space requiring close inspection, painted/sculpted mattering that meets us on a human scale to projected works that immerse us in their vastness.
The act of thinking, believing, conceiving of an idea/action combined with our energetic frequency creates individual outcomes.
Using transformational materials in conjunction with Vivid colour and light she creates experimental sculptural works that capture these energetic shifts in space and projects them back to us exposing existential spaces that would otherwise be overlooked in our race to do life.
In slowing down, finding evidence to support her belief that we are co-creators of our world, she challenges us to look beyond what is.
Multiple exhibitions locally and internationally with various works documented in Thames and Hudson publications, Valissa established a career in Lighting and object design that includes numerous shortlists and awards for excellence across ceramics and glass, before completing a Masters in Fine art in 2021.
Post MFA education programs with the Contemporary Art academy in London continue to expand her thinking.
StatementLocated in regional Victoria my practice is concerned with space(s), the invisible energy within them, our ability affect it and the matter around it. These existential spaces, between knowing, thinking and being are found with chaotic chemical reactions in transformative materials.
Resin, wax, ceramic and plastic capture, solidify and manipulate invisible energy in motion, chemical heat burns plastic space, melts wax, slumps particles, expanding, contracting, colouring.
Experimental sculpture and projection works test our ability to influence outcomes through energetic presence referencing light and space artists use of architectural space and light as material to stretch perceptions.
Time is woven through abstract disordered layers at once past present and future. ‘between spaces’ emerge through reflected and refracted light. Genres collide, alterring the narrative, colour invades once forbidden planes where a ‘what if’ approach is favoured over meticulous planning, slowing down to find undocumented spaces.
Outcomes range from physically complex arrangements of space requiring close inspection, painted/sculpted mattering that meets us on a human scale to projected works that immerse us in their vastness.
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