Working primarily with calligraphy inks, graphite and liquids, such as tea, Griffiths’ fascination with drawing focuses on the creation and manipulation of the drawn line. Images explore human, geometric and floral forms, in a combination of both literal and abstract translation and in response to images and situations encountered in daily life. Images are recorded in a dreamlike sense onto the page where physical boundaries are unimportant. His work creates a journey of escapism which focuses on scenes of awe and wonder, projecting a sense of abandonment and inviting the viewer to share and explore this inner realm.

Rooted in colour, pattern and repetition, Jane currently works as a painter and printmaker. Her recent work examines the sense of balance and order amongst turbulent and uncertain moments in time. She explores the spaces that are created, hidden, exposed and transformed within the work. Often it is a response to concerns that seem impossible to express and thus using a mindful approach to the work is an important part of the process. As abstract images, the work also passes meaning over to the viewer where their own imagined spaces and memories can be triggered.

Jess Blandford (b.1973) is a British artist living and working in South East London. Her practice is focused on abstract drawing and painting, having studied painting at Camberwell and printmaking at the Royal College. Jess has always been preoccupied with domestic spaces, flawed structures and notions of perfection. Since having children, her work has become concerned with finding ways to make visible the invisible work that holds family life together. She is interested in celebrating the small, mundane, repetitive acts that are essential (but often unnoticed) foundations of domestic life. They are rarely seen as a worthy subject for Fine Art, but are nonetheless valuable. Jess uses repetitive lines, hidden layers of colour, varied mark making, fragments and erasures, to visualise and celebrate the everyday acts of love, and the complex ‘mental load’, that is involved in raising a family and keeping us all connected.

Nikki Hill-Smith is an abstract painter who, in the blink of an eye, can teleport her viewer from the window seat of a plane destined for some opalescent island in the sea below it to the slide of a microscope in a laboratory. Squiggles and smears; dribbles and daubs of paint simultaneously embrace optics both macro and micro so that, from the very first instance, the art and act of looking at a painting by Hill-Smith is driven by a delicious discombobulation. One that flusters the haptics of space and scale; that disturbs the dynamics of delineation and composition; and that completely confounds the very metrics of time itself. Time which we know zooms around us at the speed of light and yet, here, seems to pause and ponder a coagulation of experiences, efflorescing before our very eyes in luxurious slow-motion (Matt Carey-Williams).