104th Annual Open. SGFA MEMBERS ONLY
248 artworks
Rakugo #7 by charles burns
Rakugo #7 by charles burns
1 / 248
By charles burns
Paper cutting
h: 25 w: 20 d: 1 (cms).
£1500
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Rakugo #18 by charles burns
Rakugo #18 by charles burns
2 / 248
By charles burns
paper cutting
h: 25 w: 20 d: 1 (cms).
£1500
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Time Flies by susan poole PSGFA UKCPS PhD
Time Flies by susan poole PSGFA UKCPS PhD
3 / 248
By susan poole PSGFA UKCPS PhD
Egg Tempera on gesso'd board
h: 42 w: 30 d: 2 (cms).
One of a series of paintings relating to Time, incorporating ancient sculptures or reliefs combined with contemporary figures. Painted with egg yolk mixed with raw pigments on board coated with gesso made from whiting and rabbit skin glue.
£1500
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Minerva and the Peacock by susan poole PSGFA UKCPS PhD
Minerva and the Peacock by susan poole PSGFA UKCPS PhD
4 / 248
By susan poole PSGFA UKCPS PhD
Egg Tempera on gesso'd board
h: 41 w: 29 d: 2 (cms).
One of a series of paintings relating to Time. Painted with egg yolk mixed with raw pigment on board coated with gesso made from whiting and rabbit skin glue.
£1000
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Thinking (after Rodin) by barbara sykes SGFA
Thinking (after Rodin) by barbara sykes SGFA
5 / 248
By barbara sykes SGFA
Acrylic and Charcoal
h: 70 w: 70 d: 1 (cms).
£1000
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Looking Up by david dare ASGFA
Looking Up by david dare ASGFA
6 / 248
By david dare ASGFA
charcoal and carbon pencil on paper
h: 41 w: 54 d: 1 (cms).
£1100
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African Harrier Hawk by alan woollett
African Harrier Hawk by alan woollett
7 / 248
By alan woollett
coloured pencil on saunders waterford HP paper
h: 27 w: 17 d: 1 (cms).
£425
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hamerkopf study by alan woollett
hamerkopf study by alan woollett
8 / 248
By alan woollett
coloured pencil on saunders waterford HP paper
h: 25 w: 25 d: 1 (cms).
£475
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Travels with The Woodlanders by gary cook RI SGFA
Travels with The Woodlanders by gary cook RI SGFA
9 / 248
By gary cook RI SGFA
Pencil, charcoal and watercolour on paper
h: 93 w: 69 d: 1 (cms).
I am very lucky. My lovely wife is a travel writer and I often drive her to places she's reviewing. It's a tough job, but I don't mind helping. Consequently my sketch diaries feature lots of hotels and cities with beautiful architecture. On these travels, while she's working, I started re-reading The Woodlanders by Thomas Hardy and was struck by how most of his beautiful, casual references to nature would now count as a chance observation of something rare. Hardy wrote the novel in 1887 and over those 130 years, or more specifically the last 30 years, the wildlife he thought of as commonplace is now dying or near to extinction. For instance, nightingales, which he mentions frequently, have declined by 92% since 1970, due to our drenching the countryside with chemicals, cutting down trees and climate change. This artwork features pages from my sketchbooks, pinpoints where I was reading the book's chapters and marks where Hardy gave us a glimpse of a more nature-friendly world.
£2750
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Travels with Under The Greenwood Tree by gary cook RI SGFA
Travels with Under The Greenwood Tree by gary cook RI SGFA
10 / 248
By gary cook RI SGFA
Pencil, charcoal and watercolour on paper
h: 61 w: 76 d: 1 (cms).
I am very lucky. My lovely wife is a travel writer and I often drive her to places she's reviewing. It's a tough job, but I don't mind helping. Consequently my sketch diaries feature lots of hotels and cities with beautiful architecture. On these travels, while she's working, I started re-reading Under The Greenwood Tree by Thomas Hardy and was struck by how most of his beautiful, casual references to nature would now count as a chance observation of something rare. Hardy wrote the novel in 1872 and over those 140 years, or more specifically the last 30 years, the wildlife he thought of as commonplace is now dying or near to extinction. For instance, nightingales, which he mentions frequently, have declined by 92% since 1970, due to our drenching the countryside with chemicals, cutting down trees and climate change. This artwork features pages from my sketchbooks, pinpoints where I was reading the book's chapters and marks where Hardy gave us a glimpse of a more nature-friendly world.
£1950
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Tropical Study by sue andrew SGFA
Tropical Study by sue andrew SGFA
11 / 248
By sue andrew SGFA
Coloured pencil
h: 22 w: 29 d: 1 (cms).
£450
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Morning Has Broken by sue andrew SGFA
Morning Has Broken by sue andrew SGFA
12 / 248
By sue andrew SGFA
Coloured pencil
h: 27 w: 42 d: 1 (cms).
£500
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Old box of chess and draught pieces by robert strange
Old box of chess and draught pieces by robert strange
13 / 248
By robert strange
Coloured pencil
h: 30 w: 60 d: 1 (cms).
This is an old box that once contained a Smith's alarm clock that I got for Christmas aged ten. I've since lost the clock but the box has been a reciprocal for my chess and draughts pieces. The drawing acts as a memory of earlier, innocent days of playing games and in case I lose the old, tatty and creased box, I will have an image to keep and pass on.
£600
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24 children's e by robert strange
24 children's e by robert strange
14 / 248
By robert strange
Coloured pencil
h: 39 w: 39 d: 1 (cms).
Two generations have read these books over and over which is evidenced by the torn, creased and general tatty appearance of the books. Another drawing that reminds us all of earlier times when reading was a discovery.
£550
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Birds do it - Robins by emily tull ASGFA
Birds do it - Robins by emily tull ASGFA
15 / 248
By emily tull ASGFA
Thread painting - hand embroidery
h: 20 w: 20 d: 1 (cms).
A pair of mating Robins
£410
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Birds do it - House Sparrows by emily tull ASGFA
Birds do it - House Sparrows by emily tull ASGFA
16 / 248
By emily tull ASGFA
Thread painting - hand embroidery
h: 20 w: 20 d: 1 (cms).
pair of House Sparrows mating
£410
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Pumpkin Hat (2) by angela malone ASGFA
Pumpkin Hat (2) by angela malone ASGFA
17 / 248
By angela malone ASGFA
Graphite
h: 42 w: 29 d: 1 (cms).
Little granddaughter Wren with her favourite hat in which to go pumpkin picking, finally on the right way up! Caran d’Ache Graphites onto cartridge paper.
£600
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Sisters by angela malone ASGFA
Sisters by angela malone ASGFA
18 / 248
By angela malone ASGFA
Graphite onto paper.
h: 40 w: 25 d: 1 (cms).
These two sisters were re-e actors, dressed in medieval costumes both entirely made by their mum at the Chalke History Festival this year. They are obviously a very close couple of girls, holding hands tightly without prompting throughout. I was interesting in capturing the variety of textures in their fabrics. Graphite onto cartridge paper.
£650
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Astrantias by angela malone ASGFA
Astrantias by angela malone ASGFA
19 / 248
By angela malone ASGFA
Watercolour and Acrylic
h: 26 w: 32 d: 1 (cms).
Astrantias were unknown to me until I retired and began to tackle my garden areas. I was beguiled by their complexity and subtle colours but eventually astonished by their complexity, partway through the piece. This work is painted in watercolours, onto Arches paper with acrylic background and presented in a vintage, oval frame.
£1600
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Sycamore and Shadows by jack clare ASGFA
Sycamore and Shadows by jack clare ASGFA
20 / 248
By jack clare ASGFA
Graphite
h: 45 w: 53 d: 1 (cms).
£600
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Clinging to Life by jack clare ASGFA
Clinging to Life by jack clare ASGFA
21 / 248
By jack clare ASGFA
Graphite and coloured pencil
h: 58 w: 46 d: 1 (cms).
£600
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Drawing board and walnuts by jack clare ASGFA
Drawing board and walnuts by jack clare ASGFA
22 / 248
By jack clare ASGFA
Graphite
h: 35 w: 70 d: 1 (cms).
£600
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In My Collection by amber halsall
In My Collection by amber halsall
23 / 248
By amber halsall
watercolour and graphite
h: 21 w: 31 d: 1 (cms).
£375
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Small Treasures by amber halsall
Small Treasures by amber halsall
24 / 248
By amber halsall
watercolour
h: 22 w: 30 d: 1 (cms).
£425
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Gas Street Basin, Birmingham by stephen baker SGFA
Gas Street Basin, Birmingham by stephen baker SGFA
25 / 248
By stephen baker SGFA
Water colour and fine liners
h: 30 w: 21 d: 1 (cms).
£325
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London Bridge by stephen baker SGFA
London Bridge by stephen baker SGFA
26 / 248
By stephen baker SGFA
Water colour and fine liners
h: 30 w: 21 d: 1 (cms).
£325
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Southwark Bridge by stephen baker SGFA
Southwark Bridge by stephen baker SGFA
27 / 248
By stephen baker SGFA
Water colour and fine liners
h: 30 w: 21 d: 1 (cms).
£325
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Trafalgar Square Schematics by stephen baker SGFA
Trafalgar Square Schematics by stephen baker SGFA
28 / 248
By stephen baker SGFA
Water colour and fine liners
h: 60 w: 42 d: 1 (cms).
£600
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Pigeon of Peace by alice white SGFA
Pigeon of Peace by alice white SGFA
29 / 248
By alice white SGFA
Oil Pastel and Charcoal on Wooden Board
h: 50 w: 30 d: 1 (cms).
Alice’s artwork explores how wild animals have become part of our every-day visual lexicon. Her ‘Inner Nature’ portfolio seeks to restore these extraordinary creatures to their proper role as powerful icons of nature in action. Her high-colour, gestural approach is designed to encourage the audience to lean in. This follows the key concept underpinning Alice’s work: that proximity to an artwork can engender proximity to all creation.
£420
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Tangle by amanda bates ASGFA
Tangle by amanda bates ASGFA
30 / 248
By amanda bates ASGFA
Ink on kaolin-coated board
h: 46 w: 61 d: 1 (cms).
Hawthorn tree
£795
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Squeee! by amanda bates ASGFA
Squeee! by amanda bates ASGFA
31 / 248
By amanda bates ASGFA
Ink on kaolin-coated board
h: 30 w: 40 d: 1 (cms).
£495
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Incandescence by michele ashby PS PSA-MP IAPS-MC SWA SGFA
Incandescence by michele ashby PS PSA-MP IAPS-MC SWA SGFA
32 / 248
By michele ashby PS PSA-MP IAPS-MC SWA SGFA
Pastel and liquid metallic acrylic
h: 50 w: 40 d: 1 (cms).
£1700
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Luminescence by michele ashby PS PSA-MP IAPS-MC SWA SGFA
Luminescence by michele ashby PS PSA-MP IAPS-MC SWA SGFA
33 / 248
By michele ashby PS PSA-MP IAPS-MC SWA SGFA
Pastel and liquid metallic acrylic
h: 50 w: 40 d: 1 (cms).
£1700
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Sometimes by michele ashby PS PSA-MP IAPS-MC SWA SGFA
Sometimes by michele ashby PS PSA-MP IAPS-MC SWA SGFA
34 / 248
By michele ashby PS PSA-MP IAPS-MC SWA SGFA
Pastel and graphite
h: 40 w: 30 d: 1 (cms).
£800
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When by michele ashby PS PSA-MP IAPS-MC SWA SGFA
When by michele ashby PS PSA-MP IAPS-MC SWA SGFA
35 / 248
By michele ashby PS PSA-MP IAPS-MC SWA SGFA
Pastel and graphite
h: 40 w: 30 d: 1 (cms).
£800
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Still Life no.5 by rika newcombe MA(RCA) RWS SGFA
Still Life no.5 by rika newcombe MA(RCA) RWS SGFA
36 / 248
By rika newcombe MA(RCA) RWS SGFA
ink on paper
h: 33 w: 38 d: 1 (cms).
£1500
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The Truth by ann tomlin ASGFA
The Truth by ann tomlin ASGFA
37 / 248
By ann tomlin ASGFA
Graphite Pencil
h: 20 w: 20 d: 1 (cms).
£395
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The Oxford Redwood by ian sidaway RI SGFA
The Oxford Redwood by ian sidaway RI SGFA
38 / 248
By ian sidaway RI SGFA
Fine Liner drawing
h: 90 w: 53 d: 1 (cms).
£1600.00
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The Royal Oak by ian sidaway RI SGFA
The Royal Oak by ian sidaway RI SGFA
39 / 248
By ian sidaway RI SGFA
Fine Liner Drawing
h: 59 w: 79 d: 1 (cms).
£1600.00
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Still-life with peppers and plastic by mark beesley
Still-life with peppers and plastic by mark beesley
40 / 248
By mark beesley
Oil on canvas
h: 30 w: 30 d: 3 (cms).
£425
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Still-life with cherry tomatoes and plastic by mark beesley
Still-life with cherry tomatoes and plastic by mark beesley
41 / 248
By mark beesley
Oil on canvas
h: 30 w: 30 d: 3 (cms).
£425
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Found Sea Glass 5 by fiona carvell PS ASGFA
Found Sea Glass 5 by fiona carvell PS ASGFA
42 / 248
By fiona carvell PS ASGFA
Soft Pastel
h: 50 w: 50 d: 1 (cms).
Glass factories were located at Seaham and Sunderland on the North East coast of the UK during the Victorian and Edwardian eras. Producing millions of bottles and glassware, waste glass was dumped directly into the sea and has been washed up ever since. It is widely collected today by locals and visitors alike, searching for tiny fragments that are now worn and shaped by the sea. The compulsion to collect things is a very human trait and sometimes has no conscious reason other than a fascination with colour, texture and form. Transformed by the sea from its original state and devoid of practical purpose, sea glass is returned to us as something to treasure.
£900
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Mussel Shells by fiona carvell PS ASGFA
Mussel Shells by fiona carvell PS ASGFA
43 / 248
By fiona carvell PS ASGFA
Soft Pastel
h: 40 w: 40 d: 1 (cms).
Continuing the theme of objects connected to the sea, A detailed study of mussel shells in which I wanted to use texture, colour and light as a way of presenting something we often overlook, as incredible and beautiful objects.
£650
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Texas by katherine peeke A.A.S MA SGFA
Texas by katherine peeke A.A.S MA SGFA
44 / 248
By katherine peeke A.A.S MA SGFA
lightfast museum quality acrylics
h: 35 w: 45 d: 1 (cms).
£650
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Vases Apple Wine by mike skinner ASGFA NBAC
Vases Apple Wine by mike skinner ASGFA NBAC
45 / 248
By mike skinner ASGFA NBAC
Mixed Pen Graphite oil and acrylic on board
h: 60 w: 74 d: 1 (cms).
Semi abstract still life based on studio objects .
£1800
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From Billy and Michael's window by mike skinner ASGFA NBAC
From Billy and Michael's window by mike skinner ASGFA NBAC
46 / 248
By mike skinner ASGFA NBAC
Mixed pen graphite oil and acrylic on board
h: 37 w: 33 d: 1 (cms).
Semi abstract work based on a view from a friend's house in France .
£475
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Sampling Samplers no.1 by rika newcombe MA(RCA) RWS SGFA
Sampling Samplers no.1 by rika newcombe MA(RCA) RWS SGFA
47 / 248
By rika newcombe MA(RCA) RWS SGFA
ink on paper
h: 33 w: 38 d: 1 (cms).
£1500
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New Life by mark lippett SGFA
New Life by mark lippett SGFA
48 / 248
By mark lippett SGFA
Graphitint Pencil on Paper
h: 39 w: 39 d: 1 (cms).
£850
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Streetscape: Walking with Shadows by sally barton ASGFA
Streetscape: Walking with Shadows by sally barton ASGFA
49 / 248
By sally barton ASGFA
Watercolour
h: 23 w: 47 d: 1 (cms).
Figurative study. Portrait/Landscape
£550
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Annie by sally barton ASGFA
Annie by sally barton ASGFA
50 / 248
By sally barton ASGFA
Watercolour
h: 24 w: 24 d: 1 (cms).
Portrait of nine year old girl
£485
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Power Line by mike skinner ASGFA NBAC
Power Line by mike skinner ASGFA NBAC
51 / 248
By mike skinner ASGFA NBAC
Mixed pen graphite oil and acrylic on board
h: 44 w: 60 d: 1 (cms).
Semi abstract view based around the power lines that cross the UK landscape.
£1200
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Oil and water don't mix by mike skinner ASGFA NBAC
Oil and water don't mix by mike skinner ASGFA NBAC
52 / 248
By mike skinner ASGFA NBAC
Mixed pen graphite and acrylic on board
h: 45 w: 60 d: 1 (cms).
Semi abstract study
£750
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Storm Crow by barry harrison
Storm Crow by barry harrison
53 / 248
By barry harrison
Graphite and Carbon Pencil
h: 28 w: 457 d: 2 (cms).
6 part polyptych to be hung with parts abutting in frieze style
£5000
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Tilt by amanda bates ASGFA
Tilt by amanda bates ASGFA
54 / 248
By amanda bates ASGFA
Ink on paper
h: 76 w: 56 d: 1 (cms).
This oversize piece should count as two works. I haven't framed it yet but previous works of this size were framed to 90x70cm. I hope that the extra 5cm is okay!
£845
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Grapes by anne carpenter ATD, httSGFA
Grapes by anne carpenter ATD, httSGFA
55 / 248
By anne carpenter ATD, httSGFA
Fabric Collage
h: 21 w: 21 d: 1 (cms).
£300
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Plums by anne carpenter ATD, httSGFA
Plums by anne carpenter ATD, httSGFA
56 / 248
By anne carpenter ATD, httSGFA
Fabric Collage
h: 20 w: 20 d: 1 (cms).
£300
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Hung Out to Dry, Cadgwith by alice hole NAPA SGFA SWAc
Hung Out to Dry, Cadgwith by alice hole NAPA SGFA SWAc
57 / 248
By alice hole NAPA SGFA SWAc
Graphite & Carbon
h: 69 w: 23 d: 1 (cms).
£650
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Standing Waiting, Cadgwith by alice hole NAPA SGFA SWAc
Standing Waiting, Cadgwith by alice hole NAPA SGFA SWAc
58 / 248
By alice hole NAPA SGFA SWAc
Mixed Media
h: 45 w: 72 d: 1 (cms).
£850
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The Flat by Arianna Tinulla Milesi SGFA
The Flat by Arianna Tinulla Milesi SGFA
59 / 248
By Arianna Tinulla Milesi SGFA
Pencils and graphite on antique cotton bib
h: 60 w: 25 d: 1 (cms).
This artwork represents the start of my interest for seagrass. The home details come from my apartment. The part in pink is linked to a Carla Accardi exhibition at Museo Correr in Venice. Seagrass are the link between Accardi deep work, my journey in the Laguna and the area where my home is. The artwork will be framed.
£560
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Tu sei l'impero dell'armonia (The empire of harmony) by Arianna Tinulla Milesi SGFA
Tu sei l'impero dell'armonia (The empire of harmony) by Arianna Tinulla Milesi SGFA
60 / 248
By Arianna Tinulla Milesi SGFA
Penbrush on fabric
h: 60 w: 60 d: 1 (cms).
I am mostly focusing my research on drawing on fabric, this allows me to link different themes with the preciousness of memories hidden into clothes. This is a composition dedicated to St Lucy and to my grandma, who made the shirt itself. This artwork will be framed and it will show the back side, the one you see in the attached pictures.
£780
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Only entropy comes easy by Arianna Tinulla Milesi SGFA
Only entropy comes easy by Arianna Tinulla Milesi SGFA
61 / 248
By Arianna Tinulla Milesi SGFA
Acrylic on suede
h: 30 w: 15 d: 1 (cms).
The title comes from a famous Anton Cechov quote and in this case to me it represents the difficulty of embracing complexity that life spontaneously presents but that, sometimes, we are not able to accept. So we wear gloves, clothes, layers to protect us from reality. We make these layers beautiful, even full of divines imagoes. Despite all this entropy wins and forces us to deal with its marvellous variety. These gloves belonged to a not very nice person but that had an exquisite taste. This double artwork will be framed.
£380
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Ciao, ciao bambina by Arianna Tinulla Milesi SGFA
Ciao, ciao bambina by Arianna Tinulla Milesi SGFA
62 / 248
By Arianna Tinulla Milesi SGFA
Graphite and coloured pencils on paper
h: 42 w: 59 d: 1 (cms).
This drawing is a celebration of anything that's considered controversial, from the hermaphrodite of the Louvre to the St. Teresa d'Avila, both of Gian Lorenzo Bernini, to a special freiendship or a series of text messages. The hope is embodied by a wise turtle swimming into the sky of love and unicity. The title comes from a famous Italian song of the Sixties, it means "Bye, bye baby"
£890
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