Artists

	Gallery: Half Moon Printmakers (Stand 272) Artist Gail Brodholt Artwork Midnight Cowboy 33 x 34cm
	Gallery: Artlounge (Stand 246) Artist Gail Troth Biography "In my work each concentric circle is formed by a single drop that falls into a pool of paint and thus impacts upon all parts of the pool. I developed this unique method during my degree course in fine art. It entails dropping the paint into a pool of fluid rather than using a brush. This non-interventionist approach allows the self-organisational character of the paint to reveal itself effortlessly producing delicate structure and pattern that manual dexterity would be hard-pressed to emulate. Many natural systems show organization, galaxies, chemical compounds, cells and societies and questions about how this organization arises have been raised since ancient times. In an attempt to answer these questions the physicist and Nobel laureate Richard Feynman directed his students towards the study of the infinitely small, by telling them “There’s plenty of room at the bottom”. In my artistic practise my aim is to take his advice and mirror in paint an aspect of this scientific principle to allow an unfolding to occur from an area not amenable to manual manipulation, this intrigues me and tempts me to explore further." Gail Troth graduated in 2003 from the University of Central England with a first class honours degree in Fine Art. She was celebrated with the Golley Slater Fine Art Award in the same year. Since then she has continued to be in demand and her most recent exhibitions have included 'Art & Islam' at the Birmingham Museum & Art Gallery, and 'Sense & Sensuality' at the Bankside gallery in London. Artwork From 'Eternal Landscape' Series
	Gallery: Paul Stolper (Stand 146) Artist Gavin Turk Artwork Your Authorised Reflection 2009 Glass, mirror ink, pen 60 x 45 cm
	Gallery: Paul Stolper (Stand 146) Artist Gavin Turk Artwork Blue Elvis 2009 screen print on glass, vinyl screen ink and cellulose mirror ink on red glass 60 x 45 cm
	Gallery: Jo Bennett Original (Stand 178) Artist Geoffrey Key Biography Painter & sculptor born in Manchester 1941. A highly regarded artist who has exhibited internationally. Artwork 'Rocky outcrop' Oils on Canvas Signed & dated '09
	Gallery: Mulberry Gallery (Stand 208) Artist GEORGE DE GOYA, , MA, PhD, FRSA, MFSP (b. 1915) Biography Born in Budapest and related to the great Spanish artist Goya on his mother's side. Studied at Fine Arts Academy in Budapest, then Academie Julienne in Paris. Came to Britain in 1956, where he taught history of art and art appreciation & also lectured and exhibited in England and France. Artwork Uprising 51x63cm Oil on board
	Gallery: Webbs Fine Art (Stand 182) Artist Gill Hickman Biography Gill has the ability to render the mundane monumental with her stunning close ups of urban textures, layers and weathering.These are mounted singly or arranged in groupings or assemblees of 7,12,16 or 20 images.Effective in all sizes, they are particularly striking on a larger scale Artwork Blue Brick
	Gallery: Art Addict (Stand 226) Artist Gill Rowe Biography Landscape and music are both major sources of inspiration for me. My landscape paintings have, with the help of some fine teaching, travelled a fascinating road from figurative water colours painted ‘on location’ to semi-abstract and abstract work painted in the studio in acrylic, oil and mixed media. Here I draw on my own memory bank of places, particularly in Ireland and the Lake District, but no scene is site specific. The landscapes are where you, the viewer, with your unique reservoir of experience and memories, perceive them to be. Some paintings are specifically inspired by music. I usually paint to music, and chamber music is a particular favourite. The rhythm, colour and mood in the works of composers like Brahms, Beethoven or Schubert have inspired purely abstract works. Artwork Appassionata
	Gallery: Art World Gallery (Stand 136) Artist Gill Watkiss Biography Gill Watkiss establishes the atmosphere of the day or night, the sky or threatening cloud on the horizon or the joy of summer in her paintings before she places the people in. It is quite abstract to begin with. She prefers a dramatic landscape. The starting point is observing a colour, or shape, that triggers an emotion or reminds her of something within herself, perhaps a memory, Gill’s painting are very personal and become part of her, she often finds it difficult to part with them when they are completed. She sketches the outline for form, sometimes takes a photograph, and chooses the colours she wants to introduce in the picture. “I can memorise the way people stand. I notice features, and the way people look at one another. I remember that look, and the angle of the body, this creates the tension in a painting. I try to capture people in relation to one another. Gill becomes obsessive about a particular place, changing the colour and the people bringing in other atmospheres. Every morning in her studio she paints the events which have touched her, like a diary of the days of her week. How she feels is what she paints. She doesn’t think of the why of painting, It is a coming to terms with the difficulties and joys of life. Artwork St Leven Church Penwith oil on canvas 50x40cms
	Gallery: Art World Gallery (Stand 136) Artist Gill Watkiss Biography Gill Watkiss establishes the atmosphere of the day or night, the sky or threatening cloud on the horizon or the joy of summer in her paintings before she places the people in. It is quite abstract to begin with. She prefers a dramatic landscape. The starting point is observing a colour, or shape, that triggers an emotion or reminds her of something within herself, perhaps a memory, Gill’s painting are very personal and become part of her, she often finds it difficult to part with them when they are completed. She sketches the outline for form, sometimes takes a photograph, and chooses the colours she wants to introduce in the picture. “I can memorise the way people stand. I notice features, and the way people look at one another. I remember that look, and the angle of the body, this creates the tension in a painting. I try to capture people in relation to one another. Gill becomes obsessive about a particular place, changing the colour and the people bringing in other atmospheres. Every morning in her studio she paints the events which have touched her, like a diary of the days of her week. How she feels is what she paints. She doesn’t think of the why of painting, It is a coming to terms with the difficulties and joys of life. Artwork North Quay Hayle oil on board 62x53cms