Acrylic on Linen
30 x 42 cm
Unique

2018
20.6 x 33 cm
C Type Print
From edition of 3

2011
Ink on paper
29 x 21 cm
Unique

2010
Oil on Linen
56 x 61cm

https://tomormond.com/home.html

Octopus printed in its own ink
Blotting Paper
42 x 56 cm
2019

2020
New Forest Clay, Cotton, Plywood
29.8 x 17cm

2016
Archival print on Hahnemühle Photo Rag Fine Art paper
24.9 x 16.6 cm

2014
Gilded plasters and paint on paper
H 67 cm x W56 cm x D 3 cm

Throughout my practice I have referred to the cartography of things; a continual mapping of thoughts, concepts and materials. In parallel with this I have also referred to the phrase ‘The map is not the territory’; a phrase commonly used by the Situational group in the 1960s. It could be argued that a desire to map twinned with an understanding that maps are not the actuality of our experience of place could be seen as oppositional. For me the cartographies I often refer to are tools that I use to map the complex interconnectivity of thoughts, materials and places. These are not precise maps but ones where the borders of things slip and change constantly and relationships between us and our environment are fluid.
Maps are often associated with destinations. An abiding approach in my work is to gather sets of processes, materials, thoughts and places to see where they may begin to take me. This is not unlike the sense you get when walking without a destination in mind. Whilst there is often a conceptual or geological premise to the work it is allowed to meander through processes and material changes to open up my sense of its cartography. It is only in the middle of these works that a destination / artwork emerge. In this manner the map becomes both territory and conceptual, material destination. I guess much of my work is trying to find where here is. In this I know the maps become guides in this search. Each work adding to my sense of place where place refers to the complexity of the ecology of us within all the co-relationships we have with other things and species.

Mdf, wood, paint
128 x 73 x 20cm
Wall mounted sculpture

2018
Set of 4 prints
Silkscreen on Somerset Satin 300gsm
29.7 x 42cm
from an edition of 10 plus 2 AP


Link to video:
https://www.instagram.com/p/Bq6_SEPFl0a/?utm_source=ig_web_copy_link

Time Forms 12
2020
water colours, coloured pencils and pastel on paper
20,3 x 25,4 cm

2015
Dye and gesso on Cotton
61 x 50cm
unframed

2014
Gilded plasters and paint on paper
H 67 cm x W56 cm x D 3 cm

Throughout my practice I have referred to the cartography of things; a continual mapping of thoughts, concepts and materials. In parallel with this I have also referred to the phrase ‘The map is not the territory’; a phrase commonly used by the Situational group in the 1960s. It could be argued that a desire to map twinned with an understanding that maps are not the actuality of our experience of place could be seen as oppositional. For me the cartographies I often refer to are tools that I use to map the complex interconnectivity of thoughts, materials and places. These are not precise maps but ones where the borders of things slip and change constantly and relationships between us and our environment are fluid.
Maps are often associated with destinations. An abiding approach in my work is to gather sets of processes, materials, thoughts and places to see where they may begin to take me. This is not unlike the sense you get when walking without a destination in mind. Whilst there is often a conceptual or geological premise to the work it is allowed to meander through processes and material changes to open up my sense of its cartography. It is only in the middle of these works that a destination / artwork emerge. In this manner the map becomes both territory and conceptual, material destination. I guess much of my work is trying to find where here is. In this I know the maps become guides in this search. Each work adding to my sense of place where place refers to the complexity of the ecology of us within all the co-relationships we have with other things and species.

2017
Lithograph on Mirri board
76.2 x 49.3 cm
AP, signed
All the known fundamental particles along with possible undiscovered ones. A variation of this pattern is depicted alongside a trompe l’œil image of a photovoltaic panel – a modern device capable of converting photons to energy. This Artist Proof, 1 of 10 has a unique message inscribed by the artist, “From lockdown with love”.

2020
Digital Illustration on wallpaper
20 x 20cm
Unique
Unframed

Mark Beldan — Sulby
2020
Oil on linen
25 x 20

2012
Linoprint on Somerset paper 300gsm
Unlimited Edition

2017
Oil on Panel
67 x 33 cm

Paper embossing on 300gsm etching paper
30 x 24cm
Edition 1 of 2, signed
Unframed

2019
Acrylic on squared paper
29.5 x 21cm
Unique
signed "db’19"

2018
Ink and acrylic seize
50 x 30cm
Unique
Unframed

Charlotte Hodes — After the Taking of Tea #3
Laser cut relief prints with hand cut stencils on Somerset Satin
paper size 52 x 38 cm
Edition of 15
unframed

Published by Culford Press, created & printed at Oficina Bartolomeu Dos Santos
(OBS) Tavira, Portugal in 2017, Charlotte Hodes.

This series of prints relates to a larger body of work After the Taking of Tea that consists of a ceramic installation running 17 metres, consisting of 250 pieces of tableware and intricate papercuts. The imagery plays with notions of tea and teatime, its historical importance in polite society and its contemporary role in which formality for the most part has been overturned. In the prints, the women make an appearance to playfully defy historical conventions. They nonchalantly stand whilst teapots and crockery form precarious headdresses that topple around them.

Natalie Lazarus — Untitled

2012
Oil paint and pencil on canvas
42 x 31 x 1.5 cm

https://www.natalielazarus.com

Charlotte Hodes — After the Taking of Tea #2
Laser cut relief prints with hand cut stencils on Somerset Satin
paper size 52 x 38 cm
Edition of 15
unframed

Published by Culford Press, created & printed at Oficina Bartolomeu Dos Santos
(OBS) Tavira, Portugal in 2017, Charlotte Hodes.

This series of prints relates to a larger body of work After the Taking of Tea that consists of a ceramic installation running 17 metres, consisting of 250 pieces of tableware and intricate papercuts. The imagery plays with notions of tea and teatime, its historical importance in polite society and its contemporary role in which formality for the most part has been overturned. In the prints, the women make an appearance to playfully defy historical conventions. They nonchalantly stand whilst teapots and crockery form precarious headdresses that topple around them.

Paul Coldwell — What remains-Flowers
2015
Edition 10.
Paper size  56 x 65 cms
Image size 30 x 40 cms
Proofed by the artist & editioned
at Artichoke Studio, London on 300gsm Somerset

A portfolio of the four prints ‘What Remains’ were acquired by the dept. of Prints & Drawings at the British Museum in 2019.

2019
Ink on paper
36.5 x 28cm
framed

2019
Bronze
13.5 x 2.5 x 0.2 cm
Three of three
Each bronze feather is cast in bronze by the artist in her home studio foundry, using the lost-wax casting technique. Each feather is a unique replica of found feathers gathered along her travels.

2020
Print
on Hahnemuehle Photo Rag paper
42 x 60 cm


This work forms part of the series 'Technical Drawings' looking at the rise of the art handler meme and the plight of artists supporting their practice.

2017
Inkjet print and laser print in resin
75 x 60 x 2
Framed
An image of a flower grown in the ISS layered on top of an image of a slice of a Muonionalusta meteorite.

Marker Pen on paper (acid free)
30 x 21cm
2019

Afterimage 4
2016
13-colour silkscreen print on Fabriano Rosaspina 280 gram paper
63 x 43.5cm
Edition of 60
Signed and numbered by the artist

Paul Coldwell — What Remains-Possessions
2015
Edition 10.
Paper size  56 x 65 cms
Image size 30 x 40 cms
Proofed by the artist & editioned
at Artichoke Studio, London on 300gsm Somerset

A portfolio of the four prints ‘What Remains’ were acquired by the dept. of Prints & Drawings at the British Museum in 2019.

2010
Stoneware and Porcelain mix, wood and tempera paint
20 x 16 x 9.5cm
I have had the ceramic component for a while and instinctively play it as a drum with my thumbs when I pick it up. The different ceramic prongs produce slight variation in tone. Then I thought a drum deserves a stick.

The chorus
2020
Clay and slip
Approx : h: 5cm x d: 6cm x w: 4cm

Awkward 1
2020
acrylic paint and pen on paper
14.8 x 21cm

Paul Coldwell — What remains-Shadow
2015
Edition 10.
Paper size  56 x 65 cms
Image size 30 x 40 cms
Proofed by the artist & editioned
at Artichoke Studio, London on 300gsm Somerset
unframed

A portfolio of the four prints ‘What Remains’ were acquired by the dept. of Prints & Drawings at the British Museum in 2019.

2019
Wall hung sculpture
Gesso, coins, oil and acrylic paint on wood
36 x 29 x 6cm

2019
Jesmonite, Pigments
34 (L) x 12 (w) x 5 (d) cm

Luke Burton - Ambivalent Men Hiding Under Fountain

ink on paper
70cm x 50cm

2019
Giclee Print on Hahnemuehle 308 paper
40 x 50cm
Unframed

2018
Acrylic on compressed cement board in bespoke frame
Polygon approx. 65cm x 85cm

CLUB
2018
Edition 60 + 3 EA
Gliceé on Hahnemühle FineArt Baryta
sold unframed
40 x 60 cm

2020
acrylic paint and pen on paper
14.8 x 21cm

2018
Glazed Ceramic, 22 Carat Gold Lustre, Resin
31 x 24 x 24 cm
Unique

2020
250gsm print.
42 x 29.7 cm
from a Limited edition of 50

Comes with postcard of it in situ and a sticker of the piece.

Andy Monkey
2017
oil on canvas
25 x 25cm

2017
Pigment and casein paint on water colour paper
34 x 25cm

2019
Etched plasterboard, Magnets
19 x 13.5 x 1.2cm
Unique
Signed

2020
mixed media on paper
29.7 x 42cm
Unique
signed

2019
Ink, Crayon, Emulsion paint on paper
70 x 58cm
Framed
This drawing was made in April 2019. It is a working drawing for a group of sculptures called Maurice using ceramic or glass combined with with fabric soaked in paint.

2017
Card and square headed screws
30 x 21cm
Edition nr 10 of 10
signed

2016
Kodak Premier Digital Metallic C-type paper (by Metro Imaging Ltd)
Size framed 192 x 252 x 48 mm

Two papers from 'duplicate book' with template lines retraced in carbon 23.5x20.5cm
Unframed
2020

Oil on aluminium panel
58 x 45 cm

2018
Digital Print on canvas
21 x 15 cm

2017
Lino print on Canelleto paper
Number 6 of unlimited edition
25 x 17.5 cm

2020
Acrylic on mount board
69 x 47 cm
signed

2017
Inkjet print on 100g/m coloured sugar paper
from Edition of 10
29.7 x 42cm
Unframed

2016
Inkjet print on cartridge paper
30 x 45 cm
Signed
Developmental image that formed the basis of the
costumes and prop for my play 'Character Study' (2017).

2014
Gilded plaster and paint on paper
H 67 cm x W56 cm x D 3 cm

Throughout my practice I have referred to the cartography of things; a continual mapping of thoughts, concepts and materials. In parallel with this I have also referred to the phrase ‘The map is not the territory’; a phrase commonly used by the Situational group in the 1960s. It could be argued that a desire to map twinned with an understanding that maps are not the actuality of our experience of place could be seen as oppositional. For me the cartographies I often refer to are tools that I use to map the complex interconnectivity of thoughts, materials and places. These are not precise maps but ones where the borders of things slip and change constantly and relationships between us and our environment are fluid.
Maps are often associated with destinations. An abiding approach in my work is to gather sets of processes, materials, thoughts and places to see where they may begin to take me. This is not unlike the sense you get when walking without a destination in mind. Whilst there is often a conceptual or geological premise to the work it is allowed to meander through processes and material changes to open up my sense of its cartography. It is only in the middle of these works that a destination / artwork emerge. In this manner the map becomes both territory and conceptual, material destination. I guess much of my work is trying to find where here is. In this I know the maps become guides in this search. Each work adding to my sense of place where place refers to the complexity of the ecology of us within all the co-relationships we have with other things and species.

2018
Marker pen on Marker paper
23.5 x 31cm
Unique
Unframed

Rebeccca Stevenson - Explanation for a Dead Hare #1
2013
etching and aquatint on paper
unframed
38 cm x 28 cm
edition: 1/6

2016
Kodak Premier Digital Metallic C-type paper (by Metro Imaging Ltd)
Size framed 192 x 252 x 48 mm

2018
Oil & ink on board
45 x 35 x 2 cm

2020
Pen and ink drawing on paper
21 x 14.8cm
Unique
Unframed

2008
Oil and collage on canvas
80 x 60 x 3.5 cm
Painting based on a design by William Morris

2017
Pigment and casein paint on water colour paper
34 x 25cm

2015
Dye and gesso on cotton
53 x 55cm
unframed

2019
Dyed MDF, Risograph Prints, Spray Paint, Plastic Packers
51 x 37 x 43

2016
Archival print on Hahnemühle Photo Rag Fine Art paper
249 x 166 mm

2017
Embossed print
Signed AP
61 x 45
Unframed

2015
Edition 10.
Paper size  56 x 65 cms
Image size 30 x 40 cms
Proofed by the artist & editioned
at Artichoke Studio, London on 300gsm Somerset

A portfolio of the four prints ‘What Remains’ were acquired by the dept. of Prints & Drawings at the British Museum in 2019.

2019
Oil on hardwood ply panel
80 x 60cm

Hard disc (coffee, cough syrup)
2019
24 cm (diametre) x 5 cm (depth)
Concrete, cough syrup, coffee, moisturiser, steel hook

2018
Concrete
19 x 9 x 4.5 cm
This brick was part of a site-specific installation made during the Dhaka Art Summit 2018. The work was built to respond to the concept of a "Rumour" as a "God" where the Fabrication of materials such as the cement, ballast, sand and water is required to give relevance to its notion of reinforcement, likewise a rumour needs a collection of people who would believe/share a certain idea based on their acquaintance with their social collective to give strenght to the rumour over someone or an aspect.

printed by Benjamin Miller — St Thomas’s Hospital
2015
screen print
edition of 3
approx paper size is 50 x 70 cm

The story behind this image is:
In 2015 I produced a project in Wales about romantic love, essentially a writing project, participants were offered writing workshops with published writers, but also invited to learn about printmaking and performance. Through the process I was encouraged to contribute my own love story and at this time Benjamin was seriously ill in St Thomas’s Hospital, London, where he spent two months. I structured a story around using the lift to visit him on the 11th floor and when he came out of hospital I encouraged him to make this screen print to illustrate my story. St Thomas’s is beloved to us both.

2018
Screen print
102.2 x 82.2 cm
Edition of 30, with 5 AP

Supermarket Series - Tesco
2017
Inkjet print on 100g/m coloured sugar paper
from Edition of 10
29.7 x 42cm
Unframed

2018
Lime wood, modelling wax, glass eyes
24 x 16 5 cm
Wall mounted sculpture

2019
Euro pallet, SCART, 3 core flex, audio left right and telephone cables
70 x 66 x 80 cm
Unique

2020
Digital Illustration on wallpaper
20 x 20cm
Unique
Unframed

Flatland Series : Quadrilateral 4 > Edition No 2 of 3.
Framed Concrete Relief
Dimensions 50 x 50 x 4 cm (approx 6kg)

Part of an ongoing series of tessellated concrete reliefs made by casting circuit boards from obsolete technology

2014
Marble wall paper, window screen, spray paint on reclaimed plywood
122 x 90 x 2.5 cm
Unique
Signed

Title: Une divine (divine) ecriture relevée sur une noix de cola blanche
pen and pencil on paper
10.5 x 15cm
Signed on the back with note: 'Oeuvre egarée' et 'retrouvée' dans mes anciennes instances- du 28-4-1985.

2014
Photocopier and typewriter on paper
29.7 x 21cm
Unframed
I started experimenting with typing on top of photocopied
squares of colour, as a way of introducing a bit more freedom or chance into my work, as it was starting to get very rigidly structured.

2019
Jesmonite, Iron Powder, Polystyrene
27 x 32 x 15cm
Originally created as part of my installatoin ;11/11; for the 'Art Prize Robert Schuman 2019’, which is a biennal art prize between the cities of Metz (F), Saarbrücken (D), Trier (D) and Luxembourg-City (L). Original (pictured) has been destroyed, hence I’d like to auction Nr. 1 of a new edition of 10, which will
be individual handmade replicas of the work pictured. Will be supplied without the butt and ashes.

Correction pen on ink jet print
21 x 29.7cm
Unframed
2020

2019
Ink on Paper
32 x 27cm
framed

2017
Photographic prints
18 x 18 cm each
Unique (signed and dated on the back)
Collaborative work

2018
Giclee Print, 250gsm
59 x 42 cm
Nr 5 of an edition of 50

2020
Offset print on paper
59.4 x 42 cm
Unlimited Edition available for a limited time by 2020Solidarity http://www.betweenbridges.net/index.php

2020
Block printed and stencilled acrylic paint on birch plywood
55 x 26 cm

2019
Cyanotype Print
one from an edition of 30, signed and numbered
Unframed

Schema 02 is one of an ongoing series of prints made at Mutton Fist Press in Archway. The images are inspired by technological diagrams and geometrical drawing exercises, and printed using the cyanotype process, originally invented by the scientiest John Herschel, to reproduce diagrams and notes.

2014
AudioTape on Board
60 x 60 x 1.2 cm
Unique
Signed