primary art market

Acrylic on canvas, 100 x 120cm, £1,950

Dan Bloodworth is a London based artist whose paintings are full of stories, intrigue and character. Distinctly him, this piece features Dan’s layered way of painting, building up texture on the canvas with elements that were painted over just about visible beneath the surface. In the hint of a face o

Acrylic on canvas, 100 x 120cm, £1,950

Dan Bloodworth is a London based artist whose paintings are full of stories, intrigue and character. Distinctly him, this piece features Dan’s layered way of painting, building up texture on the canvas with elements that were painted over just about visible beneath the surface. In the hint of a face or a blocked over shape, there is a reminder of his process featuring a change of direction and a beautiful texture.

Two Footed Two is a striking work with an earthy colour palette. The white horse creates a bold contrast to the gorgeous mustard and terracotta brown. The energy of the piece is focussed on the rearing horse pulling away, or reacting to, the snake beside it, whilst the rider is calm and relaxed. The texture of the paint creates a depth even in areas that are seemingly a block of colour.

A classic Dan Bloodworth piece, it pulls elements of his inspiration from folk-art to his childhood summers spent on his family ranch in California.

Harriet Atkinson (b. 2002, Hertfordshire) is a Norfolk-based painter whose work explores the manipulation of the natural world through animals and plant life rendered in unsettling and unexpected configurations. A graduate of Norwich University of the Arts, Atkinson examines themes of duality, tenderness and violence whilst drawing inspir

Harriet Atkinson (b. 2002, Hertfordshire) is a Norfolk-based painter whose work explores the manipulation of the natural world through animals and plant life rendered in unsettling and unexpected configurations. A graduate of Norwich University of the Arts, Atkinson examines themes of duality, tenderness and violence whilst drawing inspiration from artists such as Paula Rego and Francis Bacon.

Central to her practice is the recurring use of dogs and anthropomorphised animals whose presence becomes both witness and surrogate. Through this canine proxy, Atkinson channels intimate memories and personal reflections on early adulthood. Rows of exposed teeth and exaggerated features oscillate between playfulness and threat, embodying the raw, unfiltered tension of growth and lived experience to remember the past and understand the present. In another body of work, Atkinson employs flora as a means of drawing the viewer into an alternate world shaped by folklore and quiet unease. Through her different subject matters, all of her paintings offer a darkly playful yet visceral language, where familiarity is destabilised to give examinations of the writhing discomfort of experience and growth.