Katrina Blannin is interested in patterns of construction that generate structures that are palindromic and isochromatic – meticulously paints layered geometric forms, repeats and prints through the process of experimenting with simple systems, as well as palindromic and isochromatic structures, she aims to produce paintings with a logical clarity; both spatial and material in character.

Katrina Blannin was born in London where she currently lives and works. Since graduating from the Royal College of art in 1997 she has shown her work extensively in the UK and abroad, co-directed artist run project spaces, curated exhibitions and written about contemporary painting. In 2021 she completed a Painting by Practice PhD at the University of Worcester where research centred around ideas about systems and painting with a focus on the British Constructionists working in the latter part of the twentieth century. She teaches at UAL Camberwell and UCA Canterbury and works both on the editorial board and the mentoring program for Turps Banana, London.

Caroline List’s inquiry into colour and illusory space sets up a colour conversation within her paintings, informed by a number of colour references, such as signatures observed within nature, colour phenomena, colour theory and formal abstraction. This eclectic mix of references set up a spatial language, a visual tension between illusory fields of colour, light, opaque and transparent colour shapes. Her paintings play with the push and pull of picture plane, form and ground, creating compositions with surreal spatial horizons

Caroline List Born in Nottingham, studied MA Fine Art Painting at Chelsea School of Art & Design 1987-88. Caroline currently lives & Work in London and has exhibited in the UK and internationally. Her work has been collected by a number of corporate and private collections. Caroline is a specialist Painting technician at Central Saint Martins School of Art & Design and lectures at The Art Academy, London.    

Laurence Noga’s mixed media, collaged and painted constructions are low reliefs and recall works from the 1920s such as Kurt Schwitters’ (Merz 1925 1 Relief Blue Square 1925) . Noga constructs and assembles imperfect geometries. They have a complexity of colour and compositions. An eclectic inter-connectivity of the found and painted. These, ‘mixed media’ works have an open–ended language of shape, colour and surface, that seem to play with aesthetics’ of balance and imbalance, creating a kind of industrialised and personal memory scape.