Georgia Russell (Elgin, Scotland, 1974)
“Cutting out is a sort of freedom of expression. For me it’s drawing, but I draw with a scalpel.” Georgia Russell works with surgical precision, the clinical scalpel turned into an artist’s tool. With delicate gestures, she cuts her sculptural paper works from scores, prints, newspapers, or photographs, sometimes even from entire books, transforming old materials into fantastic art objects. She finds the objects that she processes at flea markets or antiques shops. They are things that were once sorted out, put aside, which refer back to a personal anecdote. The information contained by these objects suddenly makes it possible to grasp a previous point in time. Sometimes the artist leaves individual parts untouched, such as the spine or flyleaf, and thus turns her objects into things that bridge the past and the present, and with this transformation she lends them a new life and a new meaning.

Lawrence Carroll (Melbourne, Australia, 1954)
Grotte Paintings (2017)
Lawrence Carroll's oeuvre is made of humble materials, forgotten fragments, even dust. His paintings, which often morph into objects, bear witness to time leaving its mark on the canvas, constantly being reinvented as each brush stroke erases the precedent. For Carroll, creativity lies within a lengthy process of concentration and contemplation.  He ultimately trusts in an intimate bond with his materials until the work, in effect, reveals itself.  His painting and life are inextricably bound, their connection extending beyond autobiographical terms such that the artwork stands as proof of pure existence. In Lawrence Carroll's studio, debris is allowed to settle over time until the artist trusts his intuition, and all elements find their place.

Claire Morgan (Belfast, Ireland, 1980)
Fuelled by environmental and ethical concerns, Claire Morgan’s work is a reflection on the human presence in the world, which has resulted in the progressive destruction of our natural environment. This impact is externalised by the artist in her creations in which the ambiguous vital presence of the taxidermised animals contrasts with the fragile geometry created by this “assembling virtuosa”. Her delicate sketches let us discover the artist’s meticulous creative work juxtaposed with the ardent and instinctive impetus of her canvase.