rosa wiland holmes

Growing up on the beautiful island of Bornholm in Denmark Rosa Wiland Holmes was always inspired by the beauty of nature and the contrast between the smooth white sand, and rocky cliffs on the island, which created the perfect harmony.

Starting out as a Fashion designer, she discovered ceramics in 2014 and had been obsessed ever since. In 2020, Rosa Wiland won the Great Pottery Throw Down competition and this gave her the confidence to flourish.

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Holmes ceramic sculptures explore the complexity of human relationships, both between individuals and within the self. Through an intuitive process that pushes the limits of clay, she create gestural forms that twist, stretch, and expand into organic, human-like figures. These works inhabit a space of continual movement and transformation, capturing moments of tension, growth, and becoming. The collection brings together hand-built and wheel-thrown elements, each subsequently altered to emphasise irregularity and expression. Central to the work is the interplay of form, texture, and material—contrasting the delicacy of porcelain with the density of black stoneware. These sculptures function as vessels of narrative, embodying individuality, resilience, and the capacity for change. Ceramics, as a medium, carries its own metaphor: shaped through pressure, fire, and time, clay transforms into something enduring—reflecting the human experience of adaptation and renewal.

Mother and Child, H 21cm x D 13cm x W 19.5cm

Hold Onto Yourself, H33cm x D21cm x W17cm

Hiten Bhundia

Hiten Bhundia is an artist, curator and editor whose practice moves between sculpture, painting, writing

and publishing. His work examines the body as a shifting site of identity, exploring how forms of selfhood

are multiples, fragmented and adapted across cultural, philosophical and technological contexts.

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Working primarily through sculptural and painted forms, Bhundia often renders the body as contorted, partial or hybridised. Organic and floral motifs intersect with digital processes and mechanical structures, producing works where the biological and the technological coexist in tension. These material investigations reflect a broader interest in how bodies are shaped by systems of movement and exchange. Alongside his studio practice, Bhundia develops collaborative platforms through curatorial and editorial work, most notably as Editor-in-Chief of Translocation Magazine, an annual publication that foregrounds active trans-cultural artistic practices.

Body Chorus 001, 20 x 20 x 38cm, 3D sculpture, PLA, Enamel Gloss, Wood, 2026

Body Chorus 004, Body Chorus 004, 3D sculpture, PLA, Enamel Gloss, Wood, Stepper Motor, 2026

The Cyclical Body, 50 x 50 x 35cm, 3D sculpture, PLA, Enamel Gloss, Aluminium, 2024

maevaughn chiu

Working first in theatre as a scenic artist and prop-maker, then later in interiors as a muralist and decorative painter . Maevaughn also painted portraits and landscapes from life.

She has travelled and lived in countries in Africa, (as a child) the South Pacific, Hong Kong and Canada, all of which inform her visual vocabulary and interests.

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Maevaughn Chiu (b -1966) paints compelling abstractions that explore form, colour and surface.

In her recent work, small jewel-like compositions investigate how the mind processes memories. How periods of her life can be condensed and crystalised into a composite image depicting the psychological space. These are personal. Rooted in the postmodern and modernist movements that permeated her childhood.

Complimenting these are expansive linear compositions. They are intuitive, performative. Painted in layers, there is an autonomy to her process, each line reacts to the previous one.They are influenced by the nature of the paint - the fluidity, the transparency and tactility - these works allude to themes of existence and transformation, suggesting a profound sense of flow and evolution.

Chiu’s work is imbued with a meditative stillness, while some of her paintings conjure thoughts of land or seascapes, or figurative associations, they are records of the intangible.

Chiu’s interest lies in exploring the relationship between colour and form and the psychological effect they elicit from the viewer. Inspired by the indistinct memories of her early childhood. Sun bleached heat of the colours, also reminiscent of the colouring of photos from that period in the early 70s. She is interested in the emotional space that they fill. Her idiosyncratic style has developed out of a desire to create a language that communicates a sense of a place in her past. The memory of a sensation.The interconnectedness of history, environment, relationships and the flow of energy through everything are intrinsic. Compositions draw on memories and connections she feels to artists, design movements and places. The shapes are drawn from a diverse array of visual images, from the modernist art that inhabited her childhood, to forms she associates with her time living in Africa, Asia and North America. The linear works are intuitive and performative, alluding to themes of existence, evolution, connections and relationships. They are painted freehand in layers and there is an autonomy to the process, with each line reacting to the previous one. Communicating directly using line, shape, colour and scale to create works exploring feeling, sensation and history. What is visible and what is not. Each work is influenced by the characteristics of the paint as well as her physical and emotional state as she applies it.

meg lillas

After completing a diploma in Art and Design at Cardiff, Dorset-based Welsh artist Meg Lillas developed a strong interest in abstract expressionism.

Since graduating, Meg has taken part in several group exhibitions, including The Graduate Art Show and The Mixtape at The Vanner Gallery, Abstract at Fronteer Gallery, and Cardiff Made’s Winter Exhibition.

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I have a freeing and intuitive approach when it comes to my practise and pay attention to my natural tendencies whilst painting. I do not think too much as to why I am painting, but painting what feels right. The colours, mood and whole experience of the work can be highly influenced on how my day went, thoughts and emotional feelings. I like not knowing. I like the uncertainty in what a painting can become. I can accidentally make work that is filled with personal emotion and turn out to be extremely moving for me, even when I have not planned to. Everyday is a new experience when I am making work.

Painting is a rollercoaster of emotions for me. I am deeply passionate and find it a very emotional experience at times. Sometimes I find it extremely stressful and I hate it, other times I cannot go to the studio for a week as I cannot look at anything I have made. It is a constant up and down and I don’t find it easy at all. Having said, It is always something I am constantly thinking about and come back to, no matter how intense and amazing the process is.

I listen and respond to what the painting is telling me it needs. I feel highly responsible for my paintings and feel I have an instinctual maternal relationship with my work. Like I am responsible for letting them grow and giving them everything they need to survive on their own in the world. Until I am ready to let them go and then they are just being. They are their own thing. They are able to now survive alone in a room as I have given them everything that was needed to let them thrive and breathe. Once I let them go, they aren’t my responsibility anymore. They are their own individual thing with their own identity and individuality. Once they are complete, I leave them alone and move onto the next thing. I hardly give my finished works any attention after they are completed, meaning I don’t touch them, I don’t add anything to them later on down the line and I don’t really look at them anymore. They no longer takes up space in my mind as I see it as my job being done and I’ve given them everything they can possibly ever need.

'We’re passionate sometimes',
Ink, charcoal & oil on canvas,
80 x 100cm,
2026 — 'We’re passionate sometimes', Ink, charcoal & oil on canvas, 80 x 100cm, 2026

'Relapse',
Oil, chalk & acrylic on canvas
80 x 100cm, 2026 — 'Relapse', Oil, chalk & acrylic on canvas 80 x 100cm, 2026

rosa wiland holmes

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Hiten Bhundia

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maevaughn chiu

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meg lillas

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