Artist Interview: Sara Lee Roberts

 

As part of Green & Stone’s 'Works on Paper' event earlier this year, we interviewed painter, teacher and writer Sara Lee Roberts. She speaks about the importance of drawing from the Old Masters, her love for the versatility of St Cuthberts Mill Bockingford paper, and her book, ‘Painting and Reinterpreting the Masters’.

Sara - tell us about your practice and your journey to get to where you are now. 

I first learnt to paint with oils while sitting next to my father (the artist Dick Lee), in a field in Normandy. I was 7 years old. I have been painting ever since. Early subjects were the French landscape, interiors in a stunning but bare flat in Paris where I lived for 2 years, and still live. I studied at the Byam Shore School of Art, then at Sussex University where I trained as a Physicist and at Cambridge University where I trained as a Paintings Conservator. I have restored paintings in the Wallace Collection, the Royal Collection and the National Trust Collection. This work gave me an understanding of the old Masters techniques but also allowed me to see them as working artists, like myself, rather than putting them on a pedestal. In my current work, I reference the art of the past, but this is almost hidden as I move towards greater abstraction. The quality that I most want is that of light - not light that is described, but rather light that emanates from the colours and shapes on my canvas.

What is the importance of drawing to you? 

I believe that drawing is fundamental to an art practice as it helps us to be honest about what we see and what we make. Drawing has to be done almost every day as it is a skill that has to be kept alive and fresh. Increasingly I notice that drawing can express a love of the materials that we use as well as referencing external subjects. I usually draw with charcoal, but the particular feel of the individual charcoal stick and the colour and texture of the paper are crucial. 

What is your go-to drawing paper to use and why? 

I like paper that is fairly smooth and not too bright a white. Recently I have been working on sheets of St Cuthberts Mill’s Bockingford Hot Pressed. I like to use this for watercolour and gouache, as well as for charcoal drawings. I stretch it when I use water based materials. It can also be used, when stretched and gessoed for oil painting. I also keep a sketchbook on the go. 

You’ve written a book called ‘Painting and Reinterpreting the Masters’ – what is the importance of learning from and responding to the works of the masters? 

We are all part of a continuum - everyone has thought themselves to be contemporary during their life! We are influenced by all the shapes and colours around us and have been either directly or indirectly affected by art of the past. I work from the Old Masters partly to learn about quality, composition, colour and rhythm, but also to remind myself that I can stand up to them - that by copying and then (crucially) rebelling/asserting myself I learn in what way I am different from them. I have a feeling of both love and defiance when I draw from the masters.

In your book you mention using thumbnail pencil sketches, larger and slower drawings, and oil-sketch copies. Could you elaborate on why these techniques are important for artists, and how they contribute to the creative process? 

Thumbnail sketches can be made very fast and with a minimum of detail. You are forced to see, understand and show only the larger and most important underlying shapes that hold the composition together. This practise means that your own work will naturally be held by strong underlying shapes (abstraction) rather than be a piecemeal putting together of bits and pieces of detail. Larger drawings from the masters help you to feel more confident and equal to the master, but are best done after several thumbnail sketches have been made. Another positive about thumbnails is that they can be made discreetly in a gallery or museum as all you need is a tiny sketchbook and pencil - and afterwards you will remember that painting well. It's a far more useful interaction with art than just standing and staring. Oil sketch copies are a way to understand the colour relationships in a master work without getting into imitating the technique - and these also can be made small and fast. 

Are there specific artists or art movements that you’ve found particularly influential or inspiring in your practice? 

I take from everywhere. I do not rule anyone out. Their art, once made, has a life of its own. I look at as much contemporary art as I do at the Old Masters. I also read the writings of artists - these are far more useful than anything that art historians or critics write. I am particularly interested in Eugene Delacroix's journals, in Philip Guston’s writings and in Agnes Martin's writings. Beaudelaire and Rilke are poets who wrote wonderful essays on art. Increasingly I am interested in the relationship between painting and poetry. 

Find out more about Sara Lee Roberts:

www.saraleeroberts.co.uk 

www.instagram.com/saraleerobertsart/ 

For more information on the Green & Stone 'Works on Paper' exhibition, including the catalogue, visit:

https://www.thegalleryatgreenandstone.com/winter-exhibition-2024 

To learn more about the Bockingford range visit our website.

Article originated by The Gallery at Green & Stone, as part of their 'Works on Paper' exhibition. Our thanks to them for allowing us to replicate the piece.

Artist Interview: Sophie Coe

Mountain Waking by Sophie Coe,
charcoal on paper.

As part of our focus on the winning artists from the Gallery at Green & Stone ‘Works on Paper’ exhibition earlier in the year, we caught up with Sophie Coe to ask about her winning piece and her inspirations. Sophie is known for her large charcoal pieces.

Sophie won Best in Show with her charcoal drawing titled Mountain Waking.

Can you tell us a little about yourself and your practice?

I’ve always had a love of the outdoors and a curiosity about the world. I briefly studied fine art, then architecture, and worked as an architect in the UK, Asia and Australia before settling in London. Fine art remained a constant passion which slowly grew to take over as a full time occupation in 2020. It’s been fantastic to have the time to explore new techniques and work to a much larger scale if the subject or the commission requires it.

The winning image is very powerful, can you tell more about the inspiration behind this and your series of mountain images?

I’ve always loved mountains, whether walking or skiing through them, to me mountains feed the soul. I spent 15 days walking in the Himalayas, up to the base of Everest, back through the Gokyo Valley with its string of turquoise lakes and glaciers. The beauty and the enormity of it all gave the energy to keep going. I climbed Kinabalu and Kilimanjaro, where you start in tropical rainforest and walk through the temperate zones up to snow and ice. I ski whenever I get the chance, less than I want to! In lockdown I started drawing and painting mountains, having decided, if I couldn’t get to the places I wanted to visit I needed to bring them to me. The studio was full of mountains and seascapes and that’s where my head was too. The small pieces felt like postcards home from imagined adventures, the bigger pieces allowed me to feel present in the landscape. ‘Mountain dreaming’ is loosely based on the alps, it’s imaginary too though. All the man made elements are omitted - the chair lifts, the pylons. But I included ski tracks which allows the viewer to be more able to imagine themselves in the landscape. The clouds give a dream like quality to it. 

My work is all about celebrating and highlighting the beauty in the natural landscape around us. So many of us walk around in a bubble of deadlines and to do lists. I feel so strongly that the more we notice of the beauty around us the better life becomes, not just the big views but the simple things too, the details. 

Shetland by Sophie Coe on Bockingford

Your inspiration is clearly drawn from nature. Managing to express rain, wind or the movement of a wave suggests you have a deep engagement with the elements. Could you elaborate on the different techniques you use to capture these dynamic and ever-changing qualities of natural phenomena?

I find inspiration everywhere but particularly in nature. There’s so much beauty around us, both the big views and the details, I’m in awe of it. I try to capture the mood, the wonder, the feeling of being there, the elements perhaps less visible with a passing glance. How to express the rain? the sparkling light of sunshine on the sea? wind through the reeds? the movement of a wave? the stillness of a mountain? fleeting moments and permanence? I work with various drawing, painting and printmaking techniques. The freedom in my mark making gives immediacy and energy to my work, which itself exudes the simple calmness and beauty of the places that inspire it.

Lake District by Sophie Coe on Bockingford

First I’ll consider what it is I’m wanting to express and why and perhaps what needs to be omitted or included and then think about how. Wind and movement might be expressed by bringing elements out of focus - ink can be intentionally smudged by dragging something across it while wet, charcoal can be smudged with rags or erasers. Oil paint can be blended out of focus to create a sense of movement if adjacent elements have sharper edges. Movement can also be expressed simply by the energy behind the mark as its made. Rain can be graphically represented with line, or the wetness expressed with watercolour, or with transparent glazes in an oil painting. Texture of rock can be created in any number of ways, using printing techniques with textured surfaces, scratching or sanding back, hatched shading or a rough substrate. If I want to express botanical shapes or the impermanence of a shadow I might choose to omit the detail altogether and create a cyanotype. 

Shetland by Sophie Coe on Bockingford

You’ve recently brought out a book, ‘studies in paint, charcoal and print’, it showcases various techniques you specialise in. Do you have a particular favourite?

Not really. Charcoal is the medium I’ve had the most experience with but I love being able to use different techniques to achieve different solutions. It’s also quite useful for me to step away for a while from a medium and come back to it with new ideas after a time working in a different way. Eventually I see myself making more mixed media pieces too, with freer mark making and various techniques in painting and drawing combined.

Shetland by Sophie Coe on Saunders Waterford

How do each of your chosen techniques determine the type of paper you choose? 

It’s mostly about how wet the paper needs to become and the surface texture. If I’m using water I’ll choose 100% cotton paper. For small studies of a sparkly sea I might choose a very rough paper to drag a dryer brush across. For charcoal I want a very smooth surface for full control over the mark making, any white elements in the image are created by working back in with erasers to expose the paper so the colour is really important too. For pieces I intend to work back in to extensively with erasers I need a surface that is strong enough to withstand that too. 

Green & Stone Works on Paper

You can see more of Sophie’s work at: www.sophiecoe.com 
Instagram: www.instagram.com/sophiecoeartist/ 

More on Sophie’s book: sophiecoe.com/books 
Sophie Coe won Best in Show at the Gallery at Green & Stone ‘Works on Paper’ Exhibition 2024
www.thegalleryatgreenandstone.com/works-on-paper-online-catalogue

Hand-Colouring Linocut Prints with Kathryn Anderson

 

Professional printmaker and tutor Kathryn Anderson takes us through the process of adding colour to linocut prints on Somerset paper. Kathryn is an ambassador for St Cuthberts Mill and is known for her highly detailed prints capturing the beauty and mystery of the natural world.

“As a printmaker my work is mostly monochromatic and graphic in nature, but my subject matter is often anything but black and white! Many of my prints were yearning for some colour.

For years I have been printing linocuts on Somerset Satin and Somerset Velvet paper. They print so beautifully! It is the only paper I use for editioning. My prints always come out very clean and crisp with consistently even ink distribution. Somerset paper is very stable and has such a wonderfully smooth surface.

To add colour to my prints I have done reduction printing, multi-blocks, and jigsaw techniques, but longed for some soft tonal hues.

I wondered if I could introduce watercolour to the prints I made on Somerset paper. I tentatively began experimenting with watercolour on my prints and I was thrilled to find that the watercolour worked beautifully on the Somerset papers! The graphic nature of the prints combined with subtle washes of colour was exactly what I had envisioned. My prints began to come to life in a beautiful way.

I keep the washes light in saturation, so as not to overwhelm the details of the print. I can also add lovely gradients and hue shifts into the mix. It felt a bit like the antique hand-coloured photos that I love. I printed some on Somerset Velvet Newsprint Grey and was over-the-moon about the addition of the watercolour! The soft grey coupled with the graphic black print was the perfect substrate for introducing some colour.

A sunny autumn day was the inspiration for these ravens in the maple tree.

(Note: shifts in paper colour shown are the result of Kathryn’s photographing in different lights)

One of my favourite hand-coloured linocuts is this little chickadee and pinecone. From carving, to printing to hand-colouring, it was a joy to create. A simple wash of colour makes a big difference.

These flowers bloom with a splash of colour and they are so much fun to paint!

A few helpful hints about adding watercolour to your prints on Somerset:

• Make sure your printing ink is oil-based so that it doesn’t bleed when watercolour is applied.

• Don’t apply too much water and be gentle with the surface of the paper.

• Avoid opaque paint so you don’t cover up your printed image.

• If you see slight buckling in the paper when it is wet don’t worry, as the paper dries it flattens out.

• You can paint on your paper first, let it dry, and then print your linocut on the painted paper. It’s a wonderful way to play with colour and textures in a less structured way.

• Experiment with other Somerset paper colours like Antique, Buff, Newsprint Grey, Radiant White, Soft White, and White.

• Have fun!

This method of adding colour to my prints has opened up a whole new world of possibilities for me.

In addition to being an outstanding paper for printmaking, Somerset paper is equally superior for drawing, charcoal, and pastel.

Thank you St Cuthberts Mill for making this beautifully versatile paper!” - Kathy Anderson

To see more of Kathryn Anderson’s impressive prints follow these links:

Website: www.ktastudio.com

Instagram: www.instagram.com/kathy.traxler.anderson

Etsy: www.etsy.com/shop/KTAfineart

Linktree: linktr.ee/kathy.traxler.anderson

To learn more about Somerset printmaking papers visit our website.

Please note: Somerset paper is not suitable for full watercolour paintings due to being engineered primarily to accept printmaking ink, as its primary function.

Artist Spotlight: Mayad Allos on Saunders Waterford

 

As part of Green & Stone’s 'Works on Paper' event, urban sketcher and watercolourist Mayad Allos shares his love for St Saunders Waterford paper, traditional European architecture, and the continual inspiration he finds in and around Chelsea in London.

Tell us about your practice and your journey to get to where you are now. 

My main role for many years was designing new homes in Surrey, which were predominantly done digitally and 3d modelling was a very important part of our client presentation. The models took significant time to produce and subsequently amend when there were client changes to make. It was difficult to present quick ideas and very frustrating that I couldn’t present a very simple sketch alternative.

I always enjoyed doodling whilst on a phone call or waiting for a meeting and thought it would be really good fun to produce hand-drawn presentations. I started with simple sketches and progressed to full presentations. Clients loved them which really encouraged me to improve, in fact, I even presented some of the sketches framed for clients.

Initially, I only used pen and ink, then realised that a limited splash of colour gave them more life which is how I ended up with my current core style of black, white and green.

What is the importance of drawing to you? 

I am now semi-retired from my design role, but thankfully the addiction to drawing continues. It is an amazing pastime and I can spend hours and hours with a pen or watercolour brush. Whilst sketching and painting offers consistent positive challenges to improve, it is always very therapeutic, I simply lose all sense of time when drawing and painting.

What is your go-to drawing paper to use and why? 

I actually have a couple of favourites which are:

Saunders Waterford Spiral pad 19x28cm CP (NOT) 300gsm - I love this paper because it is spiral-bound which makes it easier to hold and flip through. The texture and colour of this paper is perfect for classical architectural details as it gives the drawing a huge amount of depth.

Saunders Waterford block 31x41cm CP (NOT) High White 300gsm - I mainly use this paper for larger pieces and commissions where I need a brighter background as I tend to leave more white space on these drawings. The texture is more subtle which gives a softer feel to the piece.

Drawing intricate mouldings and details seems to be a significant aspect of your practice. How do you approach capturing these details in your drawings, and what challenges or rewards do you find in this process?

I am fascinated by different shapes, objects and the shadows they project on surrounding surfaces. Classical architectural mouldings and details offer an endless supply of amazing subject material.  I love working out the best way to present them and in which colour scheme. Making them realistic but also artistic with a lot of depth can be a challenge but great fun at the same time. I quite often have a page filled with the same detail that I have drawn over and over again to get just the right colour combination.  

You’ve mentioned a love for traditional European architecture. What is it about this architectural style that captivates you?

For several reasons really.  Firstly, its timeless beauty and elegance really showcase the rich cultural heritage of Europe. The intricate details, ornate decorations and symmetrical designs really are a testament to the craftsmanship and attention to detail of the architects and builders of the time. It also has this amazing sense of grandeur that can transport you to a different era with its towering cathedrals, majestic palaces and charming townhouses – when you see these buildings it feels like you’re stepping back in time.

What specific elements or scenes in Chelsea inspire you the most, and how does the neighbourhood serve as a constant source of material for your drawings?

What inspires me most about Chelsea is its charming and picturesque streets and the proximity to the River Thames which adds an element of tranquillity and natural beauty to the place.  The rows of colourful, Georgian style houses and beautifully manicured gardens always prove to be a treasure trove of ideas for me. There are so many elegant windows, decorative ironworks and intricate facades that provide endless inspiration for my drawings.  I love that the buildings are interlaced with gardens and squares full of all types of foliage, trees and flowers too.  Creativity thrives here and I feel very fortunate to live and work in such an artistic place.

Find out more about artist Mayad Allos:

www.instagram.com/mayadallosart/

mayadallosart.co.uk/

For more information on the Green & Stone 'Works on Paper' exhibition, including the catalogue visit:

https://www.thegalleryatgreenandstone.com/winter-exhibition-2024

To learn more about the Saunders Waterford range visit our website.

Article originated by The Gallery at Green & Stone, as part of their 'Works on Paper' exhibition. Our thanks to them for allowing us to replicate the piece.

Artist Spotlight : Elena Stogneva, from Architect to Watercolourist

 

As part of our series in celebration of the recent Green & Stone exhibition, we caught up with Elena Stogneva, who won the Best Watercolour Medium prize with her painting ‘The British Museum’, to ask her about her work, and the journey she has taken from being a professional architect to a full-time watercolour artist.

You’ve still time to see the exhibition, which finishes 8 February 2024 at the Green & Stone Gallery, 251-253 Fulham Road, London, SW3 6HY.

Trafalgar by Elena Stogneva
 on Saunders Waterford

Lena is a visual storyteller and professional artist who is never without her sketchbook. Her background in architecture has allowed her to hone her perspective and geometry skills, and she loves to flex these skills spending time sketching street views, urban scenes and city skylines. 

“I believe you have to see and feel the subjects before you draw. It’s great to be able to catch the buzz of the city -  its people, the smells, and mix of cultures - and then translate that to my sketches and paintings.” says Elena.

Painting in an impressionist style, Lena has come to specialise in urban landscapes, focusing on the play of light and shadow to convey the city’s varying moods and emotions. She also enjoys playing with angles of view and, in particular, looking down from vertiginous viewpoints. Lena has experimented with many different drawing materials over the years, but discovered watercolour three years ago and hasn’t looked back. Watercolour has become her favourite medium and for most of her paintings she uses Saunders Waterford 300gsm CP (NOT) paper made by St Cuthberts Mill. 

“Saunders Waterford is my must-have paper,” says Elena.

'The British Museum' - Best Water Based Medium
at Green & Stone Works on Paper 2024 

When asked about her winning painting, she explains:

“The British Museum is one of my favourite places in London with the space of the Great Court feeling airy and light. In my painting, I portrayed the visitors’ figures casting dynamic reflections on the polished floor, and added the bright spots in mainly monochromatic space.”

By Elena Stogneva on Saunders Waterford

“I’m planning to do more plein air paintings, so I’m looking forward to warmer days. I’ve also an idea to paint more of the distinctive steel structures found inside many London buildings, like the interiors of train stations and markets. I like to capture industrial elements and think they’re an important part of urban aesthetics.” 

Lena is excited to continue working from her studio in Hertfordshire, travelling the short distance into the city for her regular urban fix, and sharing her work with an ever-growing audience.

“I like to regard my pictures as my messengers and I’m happy if others feel that emotion when they look at them too.”

Elena receiving her award from St Cuthberts Mill chairman Alan Walker
and Green & Stone Managing Director Hester Baldwin,
at the January 2024 Works on Paper exhibition.

To see more on Elena visit:

www.objectsaround.me 
www.instagram.com/lena_stogneva/

For more information on the Green & Stone exhibition, including the catalogue visit:

https://www.thegalleryatgreenandstone.com/winter-exhibition-2024

Green and Stone Works on Paper 2024 Winners

 

St Cuthberts Mill are thrilled to be associated with Green & Stone’s recent Works on Paper Exhibition. To celebrate all things paper, St Cuthberts Mill sponsored this extraordinary exhibition.

The exhibition features 144 works of art from 127 emerging artists from around the world and runs from 15 January until 8 February 2024 at the Green & Stone Gallery, 251-253 Fulham Road, London, SW3 6HY.

The private view was an electric event, with the gallery packed with people enjoying the art adorning the walls.  Alan Walker, chairman of St Cuthberts Mill, personally met and handed six well-deserving winners their prizes with Hester Baldwin from Green & Stone.

Best in Show: Sophie Coe, with Mountain Waking

Highly Commended: Lindy Norton, with The Crossing

Young Artist: Amy Austin, with The Visitor

Original Print: Yin Wang, with The Company

Water Based Medium: Elena Stogneva, with The British Museum

Dry Based Medium: Curtis Holder, with Hirsute III

Alan Walker (Chairman of St Cuthberts Mill), Sophie Coe (Winner),
Hester Baldwin (MD of Green and Stone)

We caught up with each prize winner, for more insight into their winning composition and their work.

BEST IN SHOW

'Mountain Waking' by Sophie Coe

The winning image is very powerful, can you tell more about the inspiration behind this and your series of mountain images?

“I’ve always loved mountains, whether walking or skiing through them, to me mountains feed the soul. I spent 15 days walking in the Himalayas, up to the base of Everest, back through the Gokyo Valley with its string of turquoise lakes and glaciers. The beauty and the enormity of it all gave me the energy to keep going. I climbed Kinabalu and Kilimanjaro, where you start in tropical rainforests and walk through the temperate zones up to snow and ice. 

Sophie Coe

I ski whenever I get the chance, less than I want to! In lockdown I started drawing and painting mountains, having decided If I couldn’t get to the places I wanted to visit I needed to bring them to me. The studio was full of mountains and seascapes and that’s where my head was too. The small pieces felt like postcards home from imagined adventures, the bigger pieces allowed me to feel present in the landscape. ‘Mountain dreaming’ is loosely based on the Alps, it’s imaginary too though. All the man-made elements are omitted - the chair lifts, and the pylons. But I included ski tracks which allows the viewer to be more able to imagine themselves in the landscape. The clouds give a dream-like quality to it.” 

www.sophiecoe.com
www.instagram.com/sophiecoeartist/

HIGHLY COMMENDED

'The Crossing' by Lindy Norton

The print has a sense of unease as the man is on the crossing, is this an intentional part of the composition?

“The unease you suggest in this print is intentional. I like my images to have a narrative, often unsaid and not entirely obvious. I hoped to get some sort of tension in this image, one man turning to look at the other who is engrossed in his phone. It could merely be one moment between two strangers or maybe friends…one is clearly pre-occupied!” - Lindy Norton.

www.lindynortonillustration.com

www.instagram.com/lindy.norton/ 

YOUNG ARTIST

'The Visitor' by Amy Austin

Can you tell us a little more about the intriguing narrative behind The Visitor?

Amy Austin

“I like that the narrative behind this piece is ambiguous. Which person in the work is ‘the visitor’ My gut tends to see the girl on the right being the visitor, as if she has accidentally found herself in this alternate space where another, unknown being, resides. Does this being know she is there looking in on their world? How has she got there? These are questions I don’t have answers to, or at least the answers may change depending on the day.

What I think this work communicates though, is the sense of stepping in on something otherworldly, something that is at odds with your entire worldview. I see it as a moment of distinct change, there was before this moment and there will be after this moment, but ultimately things are now different for both of the beings in this work. Lastly, the bird swooping down brings a glimpse of a world the viewer understands, and helps add a recognisable element to the work which otherwise is completely imagined.”

www.amyaustinart.com/

www.instagram.com/amyaustin_art/

ORIGINAL PRINT

'The Company' by Yin Wang

Yin Wang

"This work is a reflection of my inner world, which has remained largely concealed during my years away from my family and motherland. The subject depicted in the picture was inspired by a small wax maquette that I created to capture the ephemeral movement of a life model. This particular movement resonated with me due to its sense of loneliness and vulnerability. The shadow-like companions in the picture were inspired by Li Po’s poem 'Drinking Alone With the Moon' from the Tang Dynasty.

In the poem, Li relieves his loneliness by drinking with the moon and his own shadow, creating a trio. In my picture, however, the shadows remain more ambiguous, mysterious, and metaphorical, also forming a trio. These two companions are open to interpretation and may represent something different for each viewer. While the overall tone of the piece may seem depressing, it actually centres around 'the company'—whatever form it may take." - Yin Wang.

www.yinwangart.com

www.instagram.com/yin.wang.art/

WATER BASED MEDIUM

'The British Museum' by Elena Stogneva

Elena Stogneva

“The British Museum is one of my favourite places in London with the space of the Great Court feeling airy and light. In my painting, I portrayed the visitors’ figures casting dynamic reflections on the polished floor, and added the bright spots in mainly monochromatic space.” 

www.objectsaround.me
www.instagram.com/lena_stogneva/

DRY BASED MEDIUM 

'HIRSUTE III' by Curtis Holder

Alan Walker, Curtis Holder, Hester Baldwin

"I prefer to start every drawing with a conversation while I’m sketching the subject. It’s an opportunity to glimpse into their mind and make a personal connection. My goal is always to translate their emotions and the mood of our encounter onto paper, along with my own feelings and observations. I need to understand them a little, even if it’s fleeting."

www.curtisholder.co.uk
www.instagram.com/curtisartist

Our thanks to the team at Green & Stone for putting on an excellent exhibition, with special mention to Venetia Higgins, Mary Petherick, and Hester Baldwin.

For more information on the exhibition, including the catalogue: www.thegalleryatgreenandstone.com/winter-exhibition-2024
www.instagram.com/thegalleryatgreenandstone/ 

To view the prize-giving ceremony click here.  

Over the next few months, we will be catching up with the prize winners, to hear more about their work. Look out for the first article featuring Elena Stogneva, winner of the best Water Based Medium category in February.