Nadeem Baghdadi

This piece depicts a working day and everything that is involved in the routine and often mundane rituals of a working day. For example; brushing the teeth, ironing the clothes, commuting to work. In the centre is the worker and the boss with the worker listening to the boss talking in his ear. I have used a collage of images to tell the story. Overall, the art work comes across as a busy piece of work as I tried to depict a busy working day. I use very bold colours and strokes and my work is very uninhibited. Price: £950

Jeffrey Andrews

‘This is not Nadeem’s cheese grater’

Michelle Baharier

My artistic practice is strongly influenced by my everyday experience of disability, addressing barriers and prejudices about dyslexia and mental health - see: www.michellebaharier.co.uk

Mike Clements

I make artist's books see - www.mikeclementsartist.com

Becky Atherton

I am very interested in female mythology, histories and stories, my interest has grown after completing my Fine Art MA at UCLAN last year. My painting ‘The Young Shamanka’ is a response to a conversation I had about shamanism ,it is based on a dream in which my daughter tangled up in sheets moved from my bed ,turned into a giant rat then into a swan and swam away. I also wanted to evoke a totem with in my painting so I have painted on canvas sections with a top tier of three.

Jon Hoyle

I am 64 years old, and started painting about five years ago. I am a self-taught amateur artist. I describe myself as the world's most unlikely artist.

Dave Pugh

I worked with Ian Pepper, we were both interested in collage and decided to exchange work by post. We added images to each others collages and returned them. This formed the basis of my work, I scanned the collages and added yet more imagery to make two large digital prints. It was great working with Ian as we both seemed interested in similar themes.

Ian Pepper

Ian is a multi-disciplinary artist who enjoys exploring different approaches to art making. He has over the years worked in a variety of media including painting, collage, text and drawing but in recent years has been focusing mainly on collage and digital work. He has fairly broad artistic influences from German Expressionism and New Objectivity to Art Nouveau and Pop Art but his over-riding inspiration is Outsider Art. The work explores personal politics and interpersonal relationships within society. It is sprinkled with a sense of human warmth, mischief and fun often incorporating his dry, dark sense of humour.

Janet Allsebrook

I’m a lifelong Artist - previously teaching art and now practicing. I use various media and techniques, but often work in print.

Helen Jones

I am a painter using a variety of media. The freedom of walking in the woods, across moors or along a precarious coastal path gives me great joy. Encounters with butterflies, beetles and sun shining on leaves are never taken for granted. Gathering such sensory information with birdsong and the weather into sketchbooks, I have challenged myself to translate these encounters into pictures. Working with paint is just as enjoyable but like the horizon, the painting in my mind’s eye is unreachable. Compelled towards it, I strive for an authenticity that might resonate with others.

Alice Hutt

With only a few remaining fears Hutt lives alone in a woodland. Utilising foraged & found materials, her physical body and a mobile phone, she tells us stories of a place where human and nature intersect.

Discover more on Instagram:@aliceinWOOland

Alice & Alice: collaboration:human states of rust

Alice Bradshaw

Rust if you must, but wouldn’t it be better
to paint a picture or write a letter,
take a walk in the woods or plant a seed
ponder the difference between want and need?

Nicola Garvey

Unlike my previous crochet work, ‘Mother-Offspring’ is predominantly random, without intent, pattern or concern. The continuous red chains created different contours, which developed into all things mother-child. This was at a time when my son was diagnosed with having cancer, and undoubtedly influenced the course of my work. Each stitch bore my thoughts which grew from the anguish and helplessness I felt as his mother. The final piece with its foetus-like resemblance is secured onto what was a crisp hospital-like sheet; now a worn; crumpled; makeshift nightdress suggestive of life with its preponderance of uncertainties. The hands from which the gown hangs are symbolic of the times in which we found ourselves.

Lucy Arden

As a mother artist I strive to make the invisible, visible. I push against the expectations of my role as a mother and what my voice as an artist "should" sound like. I challenge internal and external pressure from this patriarchal society to go out and "get a proper job". The 9 to 5 paid work versus the 24/7 of the mental and emotional load, unpaid labour of motherhood. I fight these inner and outer worlds for the space and the time to create. Creativity is my oxygen, it feeds my soul, so I can return to my role as a mother, a little more restored and revived.

Susan Wright

I am an artist who makes prints, my process is influenced by an interest in archives, artefacts, the lost and the found. The objects I collect and use in my work have a direct influence on my ways of thinking and seeing. Archives and artefacts hold stories and histories, which changes as the environment and humanity impacts upon them. My work aims to add to their narrative, to give the stories a chance to progress into the future, driven by my intervention as an artist and the individual interpretations of the audience who view them.

Susan and Oli are two people who haven't ever met, however they have been on a curatorial journey together. Images have been their communication tool and this game of pictionary crossed with sudoku is now presented for you to enjoy!

Oliver Cloke

I have been involved in a multitude of projects where collaboration, spaces, language, play are the keys to creativity. In each project participants to join in, explore and experiment in ways of communicating and making art. Ideas and materials are manipulated through discussion and collaborative construction; Physically, what is produced becomes irrelevant, except as means to highlight the process and exchange of ideas. I wish for this interactivity to provide a self-questioning, that will happen when viewers leave the situation and venture into the outside world of art. It’s all about getting others to find their own creativity.

Shahina Jaffer

As a painter, I like to mix and experiment with different genres and techniques in one painting. I enjoy fauve and find it liberating to apply paint directly to the canvas surface. I then use tools from my printmaking studies to create a three-dimensional effect. I'm fascinated by paint as a medium and frequently experiment with different paints to create something new. My ethos is based on the quote by Degas, "Art is not what you see, but what you make others see," each painting can take the viewer on a visual journey based on their perception by incorporating the viewer's interpretation.

Carrieanne Vivianette

Shahina and I wanted our creative process together to be challenging and unpredictable. We began by separately working on half a canvas, to later exchange these and use the art work received as a stimulus for finishing the canvas. With this we also offered one another a quote stimulus. The art work and quote I gave to Shahina had an autobiographical nature, drawing upon my theatrical nature and love of play, ruminating on the character of the Pied Piper of Hamelin. Alongside our collaborative pieces, we are both showing Individual pieces of our own work. All of my work for this exhibition is in oil paints, and each piece uses a different process of improvisation.

Marianne Sice

Beliefs. Fragmentation. Defence Mechanisms. How often do you question your own beliefs and where they come from? Marianne Sice’s work explores the somatic experience of trauma from a female perspective exploring an individual’s beliefs, memories and behaviours resultant of trauma and some realisations from the recovery process.

Frank Darnley

We all have our demons. We can run and we can hide. Turning to look at them is a new thing. You must feel safe when you do this. Perhaps that's why I make art about household objects, to be surrounded by comfortable, familiar things. A kind of portable home.