The de Laszlo Foundation Prize & The Arts Society Star Student Award
Imogen Hare, Hands in Honey, 42 x 30 cm, RBA Star Student
The de Laszlo Medal for Excellence and £1,500 awarded to an artist aged 35 or under for the best work from life.
& A prize of £500.
Cheryl is a landscape painter because the countryside is the place where she feels most at ease. She does feel it is possible to have a spiritual connection with the natural world, and she hopes that her paintings reflect this.
“I absorb things when I go walking with my dog. I absorb things on my way to my studio which involves a walk through the garden, and when I visit parks or other open spaces. Colour catches my eye all the time and it stirs my emotions in ways that I can never translate into words, but somehow I can translate it into a visual language. The floral elements in my work evolved over time and for me, they are symbolic of the beauty of life, of ageing, the passage of time, and of death. ” – Henry Jabbour RBA PS
“These were growing on a friend’s allotment during the heatwave this year. I just loved the colour of them and took a few back to paint in the studio. I painted them from direct observation and focused on the beauty of the plums and the variety of the colours within them.” – Sarah Spackman RBA ROI
“A deeply moving oil on board impressionism painting of wild garden flowers, painted from still life and imagination. A floral arrangement consisting of Petunias, English Roses, Carnations, Cyclamen Hederifolium, Garden Helichrysum, Garden Verbena, Speciosus and English Lavender. This classic collection of carefully selected colourful flowers, are depicted within an antique Art Nouveau Glass Vase that is full of charm and warm tones, decorated with deep orange red columbine flowers.” – Deni Mansfield
“The artwork, inspired by found film photography and vintage costumes, explores childhood curiosity and spectacle for the world. The referenced photographs remain from an unknown origin, contributing to the sense of wonder in the image. The artwork embraces spontaneous and unpredictable mark-making using monoprint processes.” – Chloe Barnes
“A beautiful little pub on the edge of Southwark Park. As I entered this space I was struck by how bright it was on the inside with the light creating paths of beaming colour on the carpet. I positioned myself on a high stool in the middle of the pub and sketched the scene out first in my sketchbook.” – Lewis Hazelwood-Horner RBA
The Michael Harding Award (I)
Two prizes of £500 worth of art materials, in addition to which Michael Harding has donated twenty starter sets to the RBA Star Students.
Natalia Glinoer, In the Artist’s Studio, 40 x 40 cm (44 x 44 cm framed)
“Dusk sky with gently flowing shifts of colour and form. The first star emerges and the last bird is in flight.” – Steven Outram RBA
“A psychological portrait about inner strength and vulnerability.” – Katarina Crawford
“Octavia is created using sculpted cardboard mimicking the natural texture and movement of the octopus form. Finished in collage from recycled surf magazine this eco nod refers to the environmental issues that our oceans and marine life face in today’s climate.
Mounted to levitate away from the wall, the octopus grips the canvas like prey and holds a dominant presence in the darkened waters. Glimmers of gold highlight new areas of the body as the natural light shifts during the day, continuously changing the ambience of the piece.” – Sarah Harrold
“When visiting Llandudno a number of years ago I took a few photos of this mid century style seaside shelter. I thought the simplicity of it againt the vast sea was a stunning juxtaposition.
Sometimes it’s difficult to say whether a place or structure has a soul, but some things do appear to have an energy of their own. Is this energy from our knowledge of what something is used for or our own experience? These shelters are used for resting, eating fish and chips, keeping dry and out of the wind, relaxing and looking at the view and sometimes used by lost souls to contemplate life. They can be a physical shelter and/or an emotional one. Without this knowledge are they just inanimate objects?” – Simon Taylor
“This work is a self portrait, as with the majority of my portrait work I have become another character. This is inspired by both my love of film noir as well as my admiration for the work of Rembrandt (who also took on role playing for his work). So this piece is of a man who has fallen on hard times through no fault of his own by circumstances beyond his control; he desperately clings to the memories of good times past which unfortunately clash sorely with his present circumstances.
How many times have we seen films with characters in very similar positions as this man? I do like for the viewer to make their own connections, maybe ask their own questions like, “What is his story?” – Marc Bodie