Matt Vadis

Matt Vadis is a visual artist based in Kent. After training as an animator at university he turned to fine art to better explore the psychological effects and broader cultural influence of images. His latest work uses portraits as a form of protest against the social ills of our time, questioning the complicity of all those who meet their gaze.

See and learn more on his website - www.mattvadis.com


Maria Rado

Maria Rado is a fine artist exploring minimalist abstract approaches that aim to evoke specific emotions or a sense of place. Her artwork also examines the natural curves of plants, repetition and mathematics in nature.

Rado obtained her Master of Fine Arts degree from the National Academy of Arts in Bulgaria in 1996. Following her education, she worked in advertising and publishing for 25 years, holding various positions across Europe, the Americas, and Africa.

In 2018, Maria moved to the UK, where she became a resident artist at Beckenham Place Mansion in 2019. Since then, she has focused full time on her painting practice and welcomes studio visits by appointment. Maria is actively participating in London’s art scene with regular shows and her work has been well-received and can be found in private collections in UK, Europe, the USA and Canada.

https://www.mariarado.co.uk/

https://www.facebook.com/mariaradoart

https://www.instagram.com/mariaradoart/


Suzanne Moxhay

Suzanne Moxhay, a graduate of the Royal Academy Schools, creates work which blurs the boundaries between photography and painting.

Combining photography’s literalism with painting’s more ineffable qualities, her mysterious digital prints create atmospheric spaces that are simultaneously entirely familiar and utterly strange.

Moxhay was drawn to the RA Schools because of the chance they would give her to explore the interplay between different media. She doesn’t see herself as a photographer or a painter, preferring to draw on both disciplines in her practice.

Inspired by the technique of ‘matte’ painting in films, in which real-life action is combined with painted scenery, she begins her prints with hundreds of photographs of specific locations. She edits this source material, cutting and pasting certain elements with fragments of paintings she has made or appropriated from other sources, to create a new, imaginary space. She then photographs this draft image and begins to edit it on a computer, playing with colour, cutting and pasting again, until she has achieved the visual ambiguity she has been seeking.

The obviously photographic origins of her works suggest a real space, but then we lose ourselves in painted areas that flatten the perspective and require us to hover between two and three dimensions. As we explore Moxhay’s silent rooms we are constantly surprised: shadows fall in the wrong direction, photographs of real moths fly in air conjured from paint, and what first appears expansive suddenly becomes shallow.

Words by Richard Davey