Artist Biographies
Mark Cator
According to Cator, ‘abstract killing has become the priority of the military and the aesthetics a priority of the news’. Ultimately his process of abstraction and obfuscation is a process engaged by all corners of the establishment, including artists. Openly influenced by the likes of of Paul Virilio and Werner Herzog, Cator takes, plays, pulls and ultimately offers a visual feast of perfection of almost Klein blue and Warhol urinal green.
Isabel Rock - India Art Fair 2012
Dwelling in a world parallel to the reality of our own, Isabel Rock’s fantastical images of man and beast, in a comical and curious manner (like the metaphors they portray) engage the viewer in a game of Swingball. Rock’s talking animals and two-headed, lolling tongued creatures playfully critique today’s world and act as metaphors for greedy and compulsive consumerism. We are drawn in and out of a world full of two-headed creatures whose bony and grasping hands grip croissants that are suspended from sausages, whilst magical centaurs and industrious, busy birds flirt with the space of the paper.
A graduate of the Royal Colege of Art inLondon, Rock is the only British Artist to have exhibited at the past three Art Fairs inIndia. The artist’s new works have a lighter and fresher use of composition and space as the artist develops and moves her work learning a new sophistication of a teasing, more precise touch.
Commissioned for IAF 2012, Metaphysical Swingball Championships, 2011 is a monumental installation of 20 drawings based upon the idea of the game of Swingball where two players endlessly hit the tennis ball from one to the other, around in a circle. Rock uses this as a metaphor for the sexual act, the push and pull of human relationships; an infinite moment in time, an endless game. Conceived as one work the drawings exist either individually, as groups or as a whole sharing a family of images that slide from one image to the next, jumping around and weaving their stories.
Standing tall and proud, Rock’s arresting centaur is bringing a gift to impress a lover. He has chosen what he thinks the most romantic and impressive off all gifts - sausages and ice cream which he invitingly displays for all to see. In the forest another centaur is so besotted with the illusion or the dellusion of love that he has fallen in love with a shoe. They say love is blind, and this centaur has become so besotted he does not realise he has fallen in love with a shoe. Not even a fancy shoe, just a plain, boring old brown shoe. His emotions run riot in celebration all over his body, dancing and celebrating, although the green eyed monster lurks within him.
Alec Cumming - 2011 and Archive
Image: Alec Cumming at work in his Delhi studio, January 2012
The works of one of East Anglia’s most promising young artists, Alec Cumming, immediately offers the viewer a series of surprising productions, of luscious and textured oil on canvas, incorporating both the vitality of youth and yielding the promise of what is still to come.
Cumming’s paintings dally with the beginnings of abstraction. Bold forms produced from layer over layer of gestures and marks, hint at things that have been seen, accumulated by way of a sketch, a photograph and objects, brought back to the studio, to spill out onto the canvases in a free but considered manner. Cummings constantly develops and toys with the spaces he is working on and the tools he uses; pallet knifes, brushes and oils, the artist relishing the surfaces of the canvas that flex with the marks that he makes.
Growing up in the Norfolk countryside it is no wonder that Cumming’s earlier works feature large horizontal formats, open spaces and landscape representations, the images formed from the naturally tentative applications of paint. A number of trips to differing landscapes, to Dartmouth, St Ives and the Lake District appear to have brought into focus Cumming’s visual vocabulary, in particular his understanding of the possibilities offered by the depth of the paint he builds up.
This change in his work also corresponds with his move to the city and daily encounters with the more confined urban spaces which demand a different kind of engagement from the artist in the process of looking. With vigour and inventiveness Cummings hoards images and makes relationships between things seen. From these daily wanderings he covers the canvas with layer upon layer of marks, adjusting, looking, taking off, adding on and looking again until the surface can give no more and the work is, for the time being, finished.
Together with his developed sense of form, Cummings economises his palette, which as his work progresses, becomes sparer in range but with an enhanced clarity in the harmony of colours. But as with all artists, often what is to hand and available becomes necessarily important and the colours that are ‘in stock’ are made to work.
This paring down of colours combines with Cumming’s developed use of over-marks, a device that attracts the gaze and pulls the composition together: a series of black lines scoring the canvas, the drip of paint down the image, or the final trace of a mark that hangs across the top.
Alec Cumming - India Art Fair 2012
Alec Cumming's work offers us an insight into a world populated by heaving masses of colour, sinewy, serpentine lengths of defining lines and great expanses of luxurious, glimmering light. Nothing so mundane as "human" in this world, but beings of light and shape; pure abstract entities divined from the depths of a formal palette instead. To think of these elements as seperable from one another, or indeed from their maker is folly; for each is reflected in every other, ad infinitum.
The work, by one of the most promising young artists to have emerged from the eastern region in recent years, has developed in the short years that Cumming has been practicing as an artist, reflecting not only an increase in the power of the artist's convictions, but also an emerging calm and clarity. This clarity, seen in the artist's quest for purity of form and composition, is set against an unlikely backdrop of personal and professional upheaval. Ironically, it is the artist's removal from his tranquil riverside studio in sleepy Norwich to the riot of colours, sounds and people of New Delhi that has catalysed this transition. The elements of previous practice that are wound up in Cumming's work; luscious layers of texture and powdery, sensual marks in charcoal carved through the painted surface do not detract from the increasingly centred compositions, but make revelling in the delicate sparseness of these newer works all the more satisfying. These references are reflective, not nostalgic, and hint more at a refined sense of self-awareness than any kind of self-doubt or artistic anxiety.
Preceding the upheaval from provicial England to the capital of India was the move from rural to urban life, where the artist's earlier vocabulary of sweeping horizontal compositions was challenged by more confined spaces and exposure to a far wider spectrum of the population. It was with characteristic enthusiasm and vigour that the artist took to these new surrounds, developing a language of shapes, colours and textures that paved the way for his most recent movements, but also that drew the attention and praise that enabled his continued experimentation.
Represented by Art 18/21 since early 2009, Cumming has participated in numerous group shows around the UK, hanging work alongside such personalities as John Hoyland, Maggi Hambling and Bruer Tidman. He has also held two solo shows London's Mayfair. 2012 marks his return to India, exhibiting at the India Art Fair for the second time. As for the future, shows in London, New York and Hong Kong are planned, making further transitions and subsequent artistic renewal a certainty. We all can look forward to a year of explosive creativity with baited breath.
Sam Halstead (b. 1984)
Born in Bradford, England, Halstead has completed his BA (Hons) at 'Norwich Schoolof art and design,' specialising in sculpture. He has worked in several traditional media including bronze, stone, wood and concrete, but integral to his practice is figurative drawing. His work is concerned with social commentary and satire, specifically folly and the human condition.
Maggi Hambling
Maggi Hambling (b. 1945) studied under Cedric Morris and Lett Haines 1960, Ipswich School of Art 1962-4, Camberwell School of Art 1964-7 and The Slade 1967-9.
Awards 1969 Boise travel award, New York, 1977 Arts Council award, 1980-1 First Artist in Residence, National Gallery, 1995 Jerwood Painting Prize (with Patrick Caulfield), 2005 Marsh Award for excellence in public sculpture.
Hambling started working on the Suffolk coast in 1983. It wasn’t until 2002 she presented the first of the North Sea paintings.
With elements of figures rising through the subconscious Maggi describes the north sea paintings , ‘often like a raging beast, eating away and changing the shoreline forever. As I get older I identify with the shifting shingle, as time, like the sea enforces an inevitable erosion. But this raging beast is demanding as a lover and I am sill seduced and challenged.’
Birkin Haward
Both a succesful architect and a practising artist Birkin Haward works in a number of mediums including gouache, charcoal and acrylic. In the new series of work Haward focuses on the landscape of North Norfolk, an area the artist knows well. The scope of his paintings moves from the horizontal quality of panaoramic landscapes to smaller compositions featuring the immediate vicinity. Haward’s work seems simultaneously fresh and animated with both reaction and contemplation. At times the artist shifts from using charcoal to describe the effects of light to using it to mark enclosure. This seems at first simply a different way to use a material, but in fact it is a different way of thinking about things.
Michael Horsley
Combining real and imagined images, Michael Horsley does not hold back on what he gives the viewer. Bold colour and images that challenge, both in terms of composition and subject matter, are spilled out from over half-a-century of the artist looking, questioning and making.
A graduate of the Slade, Horsley’s working practice has taken him from the UK to the US and Hungary. Since 1994 the artist has been travelling to Vac, a small town by the Danube near Budapest, to work on the precious and rare large Lithographic stones and the enormous printing press, one of the few left in the world today.
Horsley deftly combines the beautiful with the intense, the personal and the humorous as naked people boiling in the fires of Hell combine with rude seaside postcard imagery. Mainly figurative, the work is inspired by things seen and experienced on his road journeys to Hungary viewing works in Museums and Churches in Belgium, France and Germany.
John Hoyland RA (born 1934)
An English born painter and printmaker, Hoyland trained at Sheffield College of Art from 1950 and the Royal Academy Schools from 1956. Under the influence of Nicholas de Staël he began to paint Sheffield landscapes and abstractions from still-life subjects. His devotion to colour began with experiments at a Scarborough summer school in 1957. At the Situation exhibitions of 1960–61 he showed some of his earliest fully abstract paintings in which he used bands of colour to explore perceptual effects such as the relationship of image to background or to create the illusion of buckling the picture-plane. This geometric character soon gave way to sinuous lines enclosing discs of colour, and eventually to a freer and more fluid application of paint.
Hoyland's paintings were included in the successful exhibition The New Generation in 1964. Travelling to New York, Hoyland met and visited the studios of Robert Motherwell, Barnett Newman and Rothko. He also met the critic Clement Greenberg and the young painters Greenberg was championing at the time: Kenneth Noland and Jules Olitski.
Elements from these American developments, especially post-painterly abstraction, feature prominently in subsequent canvases by Hoyland such as 1.11.68 (1968; London, Tate) in the use of staining techniques and acrylic paint, the interaction of unmixed colours, and an emphasis on the material weight of paint. Despite these influences, however, Hoyland came to reject the American tendency to reductivism, concentrating in later paintings on the approach exemplified by Hofmann and de Staël, with varied and tactile paint surfaces and a disposition of blocks of different colours to create sensations of advancing and receding space. From the late 1960s Hoyland applied these methods to screen prints, lithographs and later to etchings and monotypes.
Gwyneth Johnstone
Born in late 1914, but always kept her date of birth a secret. Her mother, the musician Nora Brownsword, had been seduced by Augustus John when posing for him shortly before the First World War. The artist already had seven surviving official offspring: five by his late wife, Ida; and two by his muse Dorelia McNeill, who was about to have another child by him (the future painter Vivien John). His further conquests would provide Gwyneth with at least three younger half-siblings.
The woman known in the John clan simply as “Brownsword” finally declined financial support; and Dorelia’s offer to bring up Gwyneth as her own, as part of the sprawling brood at Alderney Manor in Dorset, was rebuffed.
The child’s surname was taken from a former tutor at Alderney — John Hope-Johnstone — who offered to marry Nora, a woman of independent means, but was rejected. Michael Holroyd commented in his biography of Augustus John: “The surname she gave her daughter suggests that no hope had entered this relationship.”
Mother and daughter were to be inseparable, the artist Julian Trevelyan affectionately referring to them as “The Cave Women” in tribute to their disregard of everyday conventions. But Gwyneth — brought up in London and Norfolk — had a remote relationship with her father. She was the object of resentment from her half-sisters, and suffered the social stigma of illegitimacy .
Gwyneth struggled in her early studies at the Slade School of Fine Art and then with the Cubist painter André Lhote in Paris. But at one point she felt able to share a London studio with her father, and he painted her likeness in a remarkable portrait . For all his carousing ways, he passed on to his children a robust work ethic. Augustus loved Provence, and so did Gwyneth. For many years she had a base at the village of Ramatuelle behind St Tropez, and that sunny landscape sustained her art (which she often reworked at her homes in London and Norfolk) until she bought a house in Spain, in the hills above Benidorm.
Her themes were, and remained, shepherds, fishermen and lovers at ease in wild Mediterranean landscapes . Her sheep and cattle seem to be engaged in some dazzling dance in the fertile spaces between folds of cliffs, hills and mountains . Her pictures, which she called “romantic modern landscapes”, convey an innocent happiness . She finally hit her creative stride, painting as she wished and what she loved, after lessons in the 1950s with Cecil Collins, another maker of magical, dreamlike landscapes, and after studying the work of Christopher Wood and Paul Klee.
She showed in mixed exhibitions with Young Contemporaries, the London Group and the Women’s International Art Club, of which she was president for a time. There were well-received solo shows from Spain to Los Angeles, in several London galleries (Portal, Sally Hunter, Michael Parkin, Patrick Searle), and a sell-out display at Norfolk’s School House Gallery as late as 2007.
But fellow artists such as Mary Fedden and Alfred Cohen became accustomed to fielding telephone calls from Gwyneth Johnstone seeking advice with problematic pictures.
Comic conversations ensued as to the advisability of placing two or three sheep under a foreground tree in a painting unseen by the adviser. Some thought the caller merely sought reassurance before proceeding precisely as planned.
Latterly working wholly in Norfolk, Gwyneth Johnstone spent most of her days sitting before her easel on an office swivel chair, wearing a heavy plastic apron so spattered with paint that it seemed to be an additional palette. Although apparently frail, she remained energetic and focused to the end. If two buyers tussled over the same picture, the artist felt inspired to dash off a perfect replica.
Gwyneth Johnstone was unmarried, but found a close companion in the professional pianist Francis Davies, whom she met in a nightclub in the late 1940s; he died in 2008.
Michael King
Michael King was born and educated in Norwich. He studied drawing at Norwich School of Art under Leslie Davenport, and subsequently painting, etching and stained glass at Hornsey College of Art, where he was mainly taught by the master printmaker and painter Allin Braund, and Alfred Daniels.
Michael King's philosophy and approach to painting was an acknowledged influence on the work of the leading British artist Ken Kiff, and often has a dream-like quality, as seen in many of his landscapes and abstracts. He works in oil, watercolour, acrylic and pastel. He has also explored etching, lithography and collage. His work represents fifty years spent in the exploration of colour and form.
Tory Lawrence
Tory Lawrence’s (b.1940) paintings of the East Anglian landscape, humble in scale, are marvellously dynamic and encompass the whole expanse of land and sky. It has been said that ‘as Hambling is to the sea so Lawrence is to the sky’ (J Czyzselska, TheTimes, Dec 11th, 2009). A celebrated artist, Lawrence has exhibited widely, her work known for its vivid and remarkably tranquil compositions; vital depictions of gnarled oak trees, corn fields and ancient buildings painted from drawings and memory.
Tory Lawrence began painting in 1980 and lives and works in Suffolk and London. Exhibitions include Montpelier Sandelson, Charleston - Sussex, Newbury Spring Festival, James Colman Fine Art and Thomas Williams Fine Art New Bond St. London. She was winner of the Spink Prize for Painting in 1996 and 1998 and Gainsborough’s House Museum Drawing Prize in 2002.
John Maddison
A former lecturer in medieval art, and afterwards an architectural adviser to the Victorian Society and a regional representative for the National Trust, Maddison has painted full-time since the mid-1990s. He recently completed a commission for Bishop Alcock’s Chapel in nearby Ely Cathedral. He has pictures in the collections of The National Trust; The Nationwide Buildings Society; Lady Margaret Hall, Oxford; Norwich School of Art and Design; Sainsbury Centre, Norwich.
Margaret Mellis
Margaret Mellis was a pivotal figure in modernist British art – she led the migration to St Ives in Cornwall from 1939 and was later mentor to the teenage Damien Hirst.
Margaret entered Edinburgh College of Art at fifteen. Her teachers included the Scottish colourist Samuel John Peploe; her fellow students included William Gear and Wilhelmina Barns-Graham. She went to Paris on a scholarship to train with Andre Lhote and when returning there for a Cezanne exhibition in 1936 met Adrian Srokes, an established art theorist and emergent painter, whom she married two years later.
In 1938, Mellis and Stokes searched for a costal refuge from the predicted bombing of London, eventually settling in Carbis Bay near St Ives. There they were joined by Ben Nicholson and Barbara Hepworth in 1939 and together changed the course of modern British art. It was whilst in Cornwall that Margaret was encouraged by Nicholson and the constructivist Naum Garbo to produce small abstract compositions, springboards to all her daring work in the future.
But conflict abounded. The St Ives artists were said to fight ‘like ferrets in a sack’ and, in 1946, Mellis’ marriage to Stokes ended. Soon after, Mellis was introduced by Patrick Heron to the lately divorced Francis Davison. They established an instant rapport, married in 1948, and were seldom parted thereafter.
After travelling the French Riviera, Mellis and Davison returned to England, first setting up home in a borrowed fisherman’s shack in Walberswick, Suffolk, and then settling on a smallholding at Syleham, near Diss, for twenty five years. In 1976 the couple moved to Southwold and by 1978 Margaret began to turn from painting to driftwood constructions – combining beachcombed finds of vividly coloured bits of boats and beach huts, kippering boards and medieval timbers gouged by deathwatch beetles into honeycomb.
Working solely on colour, as affirmed and amended by form and structure, she produced relief sculpture of wit and verve, in which semi-representational images, unintended at the outset, appeared as if by magic.
Margaret Mellis died in 2009.
Selected Collections:
Arts Council, Tate Collection, Victoria & Albert Museum, Contemporary Arts Society, Government Art Collection, Sainsbury Centre Norwich, Scottish National Gallery of Modern Art, Nuffield Foundation, The Minories, Colchester.
Derek Morris
Derek Morris will be presenting a selection of sculptures, drawings and prints in his solo show- '25 Years thinking.'
Saturday 11th September- Friday 22nd October 2010.
Derek Morris:
"I consider myself to be operating within the European Modernist tradition of Constructed Art. The formal language of my current work is based upon simple geometry which emanates from the built environment, most particularly from the architectural device known as the squint which is a sloping sided aperture piercing thick walls between chapel and chancel in medieval churches and used for viewing. A modified form of this structure, which has the characteristic of concentrating one's gaze and drawing it inwards to a more distant point, appears in all my recent works which take the form of wall hung reliefs and sculptures. I have made these reliefs in ceramic, stainless steel, aluminium, cast epoxy resin and more recently plywood. These different materials lend their own special qualities to the works. In addition to the basic form of the squint and carefully chosen materials, repetition and shifts in perspective increase the complexity of the space which develops between the moving viewer and the static vertical plane against which the reliefs are displayed. Earlier works in this series had coloured internal backgrounds which shone through slots formed by a reflective stainless steel matrix. Others had sheets of coloured light. The purpose of both light and colour was to destabilise the spaces between and to encourage the development of particular moods in the viewer. More recent works, some of them maquettes for larger sculptures, increasingly use other means to disrupt the viewers gaze. In other words, the background plane is now disintegrating visually."
These works are increasingly without subject. They are concerned with colour in its own right, simple geometric forms, ways of seeing and the reactivity of materials one with another. In the words of Frank Stella, the American painter “What you see is what you see.”
Tessa Newcomb
Tessa Newcomb is a painter in oil on board or on furniture. She was born in Suffolk, the daughter of the renowned artist Mary Newcomb. She studied at Norwich School of Art, 1972-3, and gained an honours degree from Bath Academy of Art, 1976, doing a year's advanced printmaking at Wimbledon School of Art, 1977.
Scenes of the Suffolk countryside and coastline dominate her work; her Suffolk is a place of odd encounters an unkempt land and seascape featuring working figures, dogs, boats, churchyards and allotments all portrayed in her distinctive style.
Mixed exhibitions included Crane Arts and Mercury Gallery in London and Edinburgh. She had two solo shows at Annexe Gallery, Wimbledon, 1979-80, and later ones including the Christopher Hull Gallery from 1987, and Chappel Galleries, 1996 (with Hein Bonger).
Chris Newson
Newson’s art is his life so it speaks to us about our own lives – fears, joys, grief and delight. It’s all here – full of colour and living paint’. A noted film-maker, Newson who hails from Suffolk, first started working with Maggi Hambling in her studio in 2007, the Art 18/21 exhibition leading up to his first solo show at the Peter Pears Gallery in Aldburgh next spring.
Ana Maria Pacheco
Born in Goias, Brazil, in 1943, Ana Maria Pacheco is an artist, perhaps best known for her multi-figure sculptures in wood. She studied Sculpture and Music at the University of Goias, then did postgraduate work at the University of Brazil before returning to Goias as a lecturer at the School of Fine Arts and School of Architecture. In 1973 she won a scholarship to Slade School of Fine Art in London. She studied under Reg Butler until 1975, when she was appointed Head of Fine Art at Norwich School of Art. By the early 1980s her growing reputation led to exhibitions at the Hayward Gallery, the British Museum and the National Gallery. She has also exhibited in Trondheim, New York, the Museu Nacional de Belas Artes and the Museu de Arte in Rio de Janeiro. Her most famous works include the sculptures Man and his Sheep and Dark Night of the Soul.
Louise Richardson
Fragile and exquisite, self-contained and safe. Richardson’s work is absorbed with process; the putting on and taking off of things, of discovery and investigation. From a stock of hoarded goods the artist builds a library of resources to draw from.
In her work Richardson, a graduate from the Norwich School of Art and Design, questions ideas of memory and identity, her work deftly making subtle references and metaphors that run parallel with the subject matter.
Preserved forever the artist seals each piece into its own self contained world; muslim dresses, an old suede purse and butterflies in boxes, collected, sealed then collected and sealed once more. Figurative and haunting the works make reference to worlds gone by and to creative practice, meticulous and precise.
Isabel Rock - Archive
Colin Self
b.1941
English draughtsman, printmaker, sculptor and painter. He studied first at Norwich Art School. In 1961 he entered the Slade School of Fine Arts in London.
In his time at the Slade School, he met fellow artists David Hockney, and Peter Blake, who greatly admired Self's paintings.
His style was extremely influential when he and others such as Warhol, Lichtenstein and Segal, were at the forefront of the ‘Pop Art’ movement.
Colin visited the United States and Canada with David Hockney in 1962 and 1965, and was soon exhibiting widely on the international arts circuit.
By 1964 he was showing at the cutting edge Robert Fraser Gallery, and by 1968 Colin Self was producing technically groundbreaking prints with Editions Alecto.
Today he remains one of Britain's leading painters, with a distinctive style and strong opinions about the Norfolk environment he lives in.
Margaret Thomas
Margaret Thomas is a lyrical painter essentially in the English tradition. In her work, as in her life, there is a down-to-earth poetry and a complete rejection of pretentiousness.
Her key influences are Braque and Philip Wilson Steer and the creative tension produced between these two giants has led to what she terms ‘as a tug-o-war’ in her studio. The happy result, over seven decades now, has been a flow of evocative pictures which are underpinned by robust draughtsmanship and deft, almost abstract design.
Working solely in oils, and always indoors, Margaret Thomas paints commonplace subjects (flowers, interiors, water-dominated landscapes) which are rendered extraordinary by her singular vision. Somehow she never repeats herself, but always finds a fresh angle and new light.
Returning most frequently to the motif of the dying flower, she draws endless inspiration from these spiky, spectral and sculptural forms. She says: ‘Fading, dried, left to themselves, flowers begin to die from the beginning. When picked they must be left alone to fulfil their destinies, to orientate to the light, to sort out their relative strengths, to stabilise and mature. They cannot be arranged. All this I seek to show in my paintings’. But rather than appearing elegiac, each Thomas flower piece attests to the strength and beauty of nature.
More than anything else perhaps, Thomas’ pictures communicate an enthusiasm for living.
Selected Collections:
Tate Britain, Arts Council, Government Art Collection, Royal Collection, National Library of Wales, Exeter College, Oxford, Lloyds of London, Warburg & Co.
Mary Webb b. 1939
Mary Webb studied Fine Art at the University of Newcastle in 1963, following with a Postgraduate course at Chelsea School of Art, London.Her concern is with colour and the emotional and spatial sensations it evokes, frequently linked to the memory of place.
Webb tends to work in series, using flat colour within a geometric, minimalist, square format. The paintings are oil on canvas, preliminary studies being in watercolour or collage, but she also makes screen prints.
Artist Statement: "A strong influence at the time of these first screen prints was Sofia Delaunay I had first met her in the early sixties when researching my thesis on her husband Robert. In the late sixties visited her regularly in her beautiful studio in the Rue St Simon in Paris, found the contact very inspirational, and it gave me the impetus and courage to start using colour in a very direct and simple way It was about making three or four colours work very hard together within an ordered format. By happy chance Mel Clark, a printer started teaching at Norwich School of Art, at this time and he suggested make these images into screen prints. The collaboration with Mel has gone on ever since, His affinity with the medium and insight into the needs of my work has been remarkable. At the time of these prints the equipment was less sophisticated, and the ink lies on the paper rather than in it, and the registration is not as it is today but the colour is spot on I have always mixed the colours for the prints myself."
Works in the collections of: Arts Council of England, Universities of Cambridge, East Anglia, Newcastle, Eastern, Lincolnshire & Northern Arts Associations, Bedfordshire, Norfolk, Leicestershire &Suffolk Education Authorities, Eastern Counties Newspapers, Lucy &Henry Cohen Charitable Foundation, Credit Suisse First Boston Bank, Deutsche Bank, Sonia Delaunay Collection, Ernst & Young, Smith &Nephew PLC, Apax Partners, St Marys Hospital.
