Emotions IV
Öl auf Leinwand, 120 x 80 cm

Ágnes Zászkaliczky

Agnes Zaszkaliczky is hungarian born visual artist based in Vienna. Since a couple of years she paints mostly portraits. Years of practice and education has helped her to reach the level where she is able to paint anybody`s portrait. She acquired the technique of classic portrait painting, which she learned of Russian experts. Therefore, when creating a portrait she uses the methods of Caravaggio and the masters of old age as well and she creates the composition with abstract elements. However, for her a portrait means much more than only a technical challenge. Besides the appearance, the real objective there is the visualisation of the character, the human being and the soul which is present on every face and expression. The portraits thus awaken with an ethereal complexion and we find ourselves gazed upon by the eternal and the unique.

Aberporth, Wales (Summer)
Fotodruck, 65 x 80cm

Amelia Kilvington

Talking with the Bullfinches
Mischtechnik auf Leinwand 91 x 122 cm

Carys Evans

I graduated in Fine Art in the Faculty of Arts and Design at Swansea Metropolitan University in 2013. My field is painting, mainly of the female human figure. I work in many media, including oil, household emulsion, pastel and drawing. My paintings are usually the result of prolonged working and reworking. I have a studio in the centre of Swansea.

Öl auf Leinwand

David A. Kilvington

I was once told, by one of my tutors, that things came too easily for me, it was not meant to be complimentary. Thirty odd years later I have come to realise how wrong he was. As I often have little or no contact with the outside world I can ignore the social restrictions that curtail most, and can often be found in my nightshirt, dressing gown and slippers, peeling oranges at ten minutes to mid-day.

David trained in fine art painting at the University of Brighton. Since leaving in 1991 he has held a number of successful international solo and group shows. He deploys formal composition, lustrous colour and a superb painting skill to create artworks that push the boundaries of figurative art, displaying a strong painterly quality, supported by observational skills, drawing and a highly inventive imagination. His paintings often examine the abstruse unfolding of characters, always friends, confidants and his familiars; the paintings involve elements of eroticism, dark humour and keen observation. The narrative can be equivocal and double-edged. Disquiet, watchfulness and tension are implicit. ‘I am fascinated in how people are, the way they occupy space, how drama might be locked in the seemingly unexceptional, and to see if it can be revealed. I am intrigued by the alchemy at this moment of transformation.‘

Reclining Eunuch Slave
Bronze; 32 x 19 cm

David Gunther

I have made many decisions in life, good, bad and indifferent. My personal vision of being creative involves making important choices in deciding what road shall I walk down? The one that winds to and fro, not being able to see the end, or the one that is straight with the end visible to the naked eye? I create sculptures and installations by contesting the division between the realm of memory and the realm of experience, I try to approach a wide scale of subjects in a multi-layered way, involving the viewer in a way that is sometimes physical. Believing in the idea of form and movement in my work.

Rote Schuhe
Eitempera auf Halbkreidegrund, 45 x 50 cm

Eva Hradil

Eva studied art – in the painting and graphics class – from 1999 to 2003 at the University of Applied Arts in Vienna. She lives as a freelance visual artist in Vienna and Lower Austria.

Her preferred motives are people and things made by/for people. She rarely uses photos for this, but needs her models in the studio. „The subject is less important than the painting itself.“ As artist in residence she has been in: China (2001), Ireland (2006), Budapest (2008), Principality of Liechtenstein (2009), Buenos Aires (2017), Frankfurt (Oder) (2019), Salzburg (2020). For symposia she has been: Sweden (2009), Valtice / Czech Republic (2005), Krumau / Czech Republic (2010).

Eitempera auf Halbkreidegrund, 110 x 130 cm

Déjà Vu
Öl auf Holz, ca 46 x 56 cm

Julie Davis

I use traditional methods, but I like to be playful in my approach to paint and eclectic in my subject matter. I try not to analyse my ideas too closely, although these days my work sometimes creeps toward magic realism and the relationships we have with the (un)natural world, and other creatures. I am based in Wales, UK, have a Master‘s degree in Art and Art History, and have been an exhibiting artist for over a decade.

The lord is my shepherd
Öl auf Leinwand, 140 x 100 cm

Lara Bandilla

I use traditional methods, but I like to be playful in my approach to paint and eclectic in my subject matter. I try not to analyse my ideas too closely, although these days my work sometimes creeps toward magic realism and the relationships we have with the (un)natural world, and other creatures. I am based in Wales, UK, have a Master‘s degree in Art and Art History, and have been an exhibiting artist for over a decade.

Luminous Days: All of my Being
Öl auf Leinwand, 46 x 36 cm

Maria Pierides

Having grown up in Greece, Cyprus and the UK, living between two different worlds and the search for home, are themes that influence my work. My actual painting process relates to these themes as I use mixed media, building up and scraping back areas of paint to capture the atmosphere, mass and light of the different places I have called home. Objects collected on my walks and through my travels often make it directly into my work, and I am also inspired by myths and poetry. Having studied at The Central School of Speech and Drama and Goldsmiths University in London, I now live in Wales, working as a full time artist.

Bathers 2
Öl auf Leinwand, ca 116 x 76 cm

Mark Goldsworthy

Mark grew up in East Anglia and studied at art schools in Great Yarmouth and Manchester. He is now based in the Suffolk market town of Bungay. A figurative style based on sound drawing and heightened colour was prevalent in the early large scale works. A move to a series of figures in fields of colour and stronger definition was the direct influence of experiments with sculpture. Latterly, paintings have become much smaller and introspective. Delicate drawings and designs for commissioned sculpture have also attracted admiration.

Work has been shown on Anglia Television and has appeared in arts reviews in the Guardian, and regularly in the Eastern Daily Press. Mark has exhibited in London, Norway, France, Austria, USA and South Africa and work is held in private collections throughout the world..

How soon is Now?
Feder auf Yupo-Papier, A4

Marc Bodie

The first inspiration for wanting to make figurative sculpture was as a child having watched the wonderful Ray Harryhausen films, The 7th Voyage of Sinbad, Jason and the Argonauts, etc. The stop motion animation of figures of myth and legend was a captivating feast for any young imaginative child. When his Father said that they were made from models, that was it. He was straight to drawing and plasticine model making, He was full on. Then he discovered Artists and sculptors whose theme of choice was the figure. From Michelangelo through to Rodin onto Germine Richier and Elisabeth Frink and all in between and after (still discovering). He is not only influenced by all these great sculptors but also by the forces of nature, eg clouds, plants, sea, landscape etc. As well as books; fact and fiction, poetry, plays and films etc. He expresses all these influences through his use of the male figure.

Blaues Gesicht
Öl auf Holz, 152 x 230 cm

Monique Schumacher

Born in The Hague, NL 1957, Austrian roots. As a child musical education and Conservatorium The Hague. Autodidact in Painting.

1998 First painting
1998 First price National Talent painting competition
1999 Artist in Residence, Bundeskanzleramt, Vienna
2000 Soloexposition Galerie 1000 Rosen, Vienna
2001 National-Bibliothek Vienna, 2 portraits from the Dutch royalties, for the exposition *500 Jahre Oranien*
2001 Television Portrait about my work, ORF 1

Between 2001 and 2012 exhibitions, solo and in group, in The Netherlands, Italy, Austria, France and USA
Lives in Vienna, Tuscany and The Netherlands.

Aquisitions: Vienna Opera, Several private acquisitions, Netherland Embassy, Vienna

Katerina Ismailova
Öl auf Leinwand, ca 114 x 97 cm

Noel Bensted

I paint almost always in the main from life or drawings and very occasionally photographs. The light of my new adopted country, Morocco, continues to inspire in light that reminds me of the great 17 th century Spanish painters. I take inspiration from people and novels („Katerina Ismailova“). Still life, both harsh and more reflective, provide a break from my favourite subjects: people and architecture. Sometimes I paint a piece in hours, like Fez street; others, like Katerina, are the result of weeks of contemplation and revision. Both modes of working continue to nourish me.

Amsterdam Shoes
Öl auf Leinwand, ca 32 x 32 cm

Paul Edwards

My paintings are of objects, often clothing, some found but all used – e.g. a shoe from the red light district of Amsterdam. Objects are not neutral: a shoe is shaped, becomes worn by a person’s gait, it takes on the shape of the foot that wears it. I have painted shot glasses, a wine glass, seductive Chinese cigarette packets and cakes with a synthetic pink frosting – a kind of visual ‘Big Rock Candy Mountain’ – contemporary life, a place where everything is available. I am a painter working out of my studio in Cardiff, Wales. I make work directly from the subject. As well as working in the U.K I regularly work abroad. I spent three months painting on the West coast of Ireland in County Mayo at the Ballinglen Foundation but recently my focus has shifted to the U.S. I have painted in Vermont and for several years as a resident at the Virginia Centre for the Creative Arts.

My painting is figurative and underpinned by drawing – I am interested in making work about seeing. Recently I have become interested in curating and participating in collaborations with writers. I curate ‘Imagistic’ a series of ongoing international collaborations between artists and writers. Our events have taken place in venues in the U.K and also in the States, in Minneapolis and Washington D.C.

I have work in private collections in Britain, Germany and the U.S. My work is also represented in public collections; in the Kunsthalle Mannheim, University of Lincoln and Bishop Grosseteste University and at the Glyn Vivian Gallery in Swansea, South Wales.

Big Profile
Kaltgegossenes Kupfer-Harzgemisch; ca 80 x 80 cm

Shaun Brosnan

I work with sheet lead because it is such a lovely sensual material. I wanted to find a material that was permanent and direct and wasn’t reliant on the casting process, always a dilemma with sculpture. I start with a flat sheet and hang it up in mid-air, then beat it with hammers both from the front and back. Each piece is unique and the piece of lead I am using at the time dictates the size and feel of the sculpture. I use old and new lead depending what mood I’m in. I really like the hammer marks and try to be true to the material by incorporating all the holes and defects in the lead. My work is figurative and mouths and lips obsess me. I am hugely inspired by the sculpture of ancient Greece and Rome and the way in which we are able to look at fragments of things and understand them. I think that everyone has an imagination and should be able to make up their own stories about my work…

Fantasia 1
Öl auf Leinwand, ca 60 x 30 cm

Shirley Ann Owen

My art practice is based on my familiar environment as it changes – capturing a fleeting moment, or series of moments. Using oils or mixed media, works are light and freely expressed.

Wie sieht es aus bei TAITH?​

In normalen Zeiten herrscht bei uns buntes Treiben:

an den Wänden sowieso, aber auch in unseren Räumen. Vernissagen und Private Views mit den ausgestellten Künstlern, private Abendessen im kleinen Kreis mit Sammlern und Vorträge zu relevanten Themen wechseln sich ab.

Derzeit ist es etwas stiller bei uns – aber ein Besuch ist trotzdem möglich: Wir haben unter 400m2 Galeriefläche und sind außerdem in der Lage, ausreichend Abstand zu halten. Und bis das Ärgste vorbei ist, können Sie ja auch virtuell durch unsere Räume wandern …

Kontakt zu TAITH

Nach oben scrollen