List of Works and Statements

Please find a list of artist names statements and works below – listed alphabetically. There are printed maps showing the location of works available here to download – or at the library when you visit.


Michelle Avison

The work explores surface and texture- it finds a sense of place through looking and drawing. To make drawings and rubbings of surfaces and textures is a way into knowing a place.

It has been a joy to respond to the Holborn Library space. The disused spaces resonate with all of their previous uses. Seven Squares uses as a starting point a series of display boards which signposted the way to the children’s library. The drawings developed as they were made, decisions came out of simple drawing actions (and the suggestions of other artists). Layers of previous images, and the scars and marks left behind by the boards have been revealed, the history of the building is peeled back.

It seemed as though the Library Chairs told a story- they are a record of intent, and their design dictates what is possible in them.

Library Chairs I- V


£70 each


Seven Squares and the Noticeboard

Drawing, rubbing, crayon, pencil



Lucy Baxandall

Lucy is a papermaker and book artist based at Kingsgate Workshops Trust. She holds a PGCE in Modern Languages from Queen’s University Belfast and an MFA in Interdisciplinary Book and Paper Arts from Columbia College Chicago. She teaches 2D and 3D papermaking at Morley College, West Dean College, around the UK and in the Middle East.

Her raw materials for papermaking include plant fibres, recycled cotton and linen fabrics and specialist fibres. Much of her work is informed by layered geological formations, as she explores memory and human attempts to control uncontrollable forces.

Objet de Vertu

Fire-damaged auction catalogues, PVA, acrylic medium



Cast handmade eucalyptus paper, brick dust, air pollution, acrylic medium



Handmade flax, abaca and cotton papers


Fire Donuts

Fire-damaged papers, linen, acrylic medium



Peter Baxter

Rhyme Time Kinship #1, 2017


Peter Baxter

Alimentation in Neon, 2017


Forging José Damasceno’s Plot (2014) exhibition at Holborn Library which reanimated the space with a disorienting journey and an etching by David Hockney called the French Shop (1971) and available to view on Camden Libraries’ Artwork catalogue.

AMM All-Stars

Rough Music Rhyme Time, 2017 .

A folio of oily foil on a tissue of tarmac. Getting knee deep in the archival crust that lies beneath, Tackling art, class and the old cleavage, Digging out an unburied fossil fragments of our Fracking futures past and realeasing a belch.

Jenny Bell

This work explores the relationship between the physical and the intellectual notion of perspectives or points of view. The materials provided act as a viewfinder to guide the participants to look and so judge the space of the library. Each material should generate different disruptions to the eyes natural sight, offering a range of pleasurable and uncomfortable perspectives.  Photography can be used to log the preferred view (if the participants are willing to snap a shot and email it to I hope that the camera lens will provide another moment to analyse what is being seen and that the work will evolve to represent some sense of the individual and collective view of the space.

Risky Business

Found objects, paper, wire and glass



Steffi Buttle

Are you going to leave that there – Assembled in response to the tensions of the imminent changes to the library, using found objects, environment and reappropriated ceramic materials.

Artist, Maker Stephanie Buttle uses diverse approaches within her ceramic practice influenced by her former professional experiences within dance, performance and lens-based mediums. Her installation work explores the possibilities of aliveness and performance, through the investigation of materials, process and physical interaction.

Since graduating from Central Saint Martins (2015) Steph has exhibited work at Messums Wiltshire, Lethaby Gallery London, Pangolin gallery London, Southwark Cathedral, and is a member of the ceramic artist collective Associated Clay Workers Union (ACWU)

Stephanie is a ceramic tutor at Morley College and the Outreach dept. at Central Saint Martins.

Lives and works in London.

Are you going to leave that there

Ceramic installation

Available on request


Matthew Cort

This work is part of a series in which I play with the visual conventions of scientific natural history illustration by making ostensibly objective ‘taxonomic’ representations of bird species that do not in fact exist, yet might plausibly do so at some future evolutionary stage or in some alternative universe. I develop each image by finding public-domain illustrations, then re-working these through a process of manipulation, editing and invention using watercolour and digital media. Each print is presented as a fragment of an imaginary natural history book.

Imaginary Page from a Book of Birds, No. 4

digital archive print on watercolour paper

£150 mounted (£135 print only)

Imaginary Page from a Book of Birds, No. 5,

digital archive print on watercolour paper

£150 mounted (£135 print only)

Imaginary Page from a Book of Birds, No. 6

digital archive print on watercolour paper

£150 mounted (£135 print only)

Car, Height 1:1, 2008

glass-reinforced plastic, paint, steel, aluminium


A scale representation of a car (Ford Ka) in which all the horizontal dimensions have been reduced by 16, while all the vertical dimensions have been preserved, resulting in a ‘customisation’ that both preserves all the original’s features and opens up new possibilities for them.

Table, Boxes, Books (Height 1:1), 2015-17

plywood, paint, paper, epoxy resin, steel


A scale representation of the artist’s living room table with stacked cardboard boxes containing books, in which all the horizontal dimensions have been reduced by 8 but all the vertical dimensions have been preserved, resulting in a ‘customisation’ that both preserves all the original objects’ features and opens up new possibilities for them.


Richenda Court

The work Richenda makes is inspired by figurative, subconscious line drawings which are developed into etchings and linocuts.

Of her work she says :

‘Sometimes it’s not possible to find the truth in what exists directly around us. Through drawing and making prints I find there is an opportunity to think through ideas, explore solutions and find a ‘new truth’.’

Last year her book ‘Ocean Swell’ was published.

The book tells the story of two people who undertake a journey into the ocean. The book was created by making a drawing each day without  any pre-set storyline and no words.

The prints made over the last two years have been predominently inspired by drawings from the book.

Ocean Swell I (A/P)



Ocean Swell I I(A/P)




Ocean Swell Book, limited edition book



Paul Dewis

This recent ongoing series of woodcuts are based on a photograph I’d taken some time back in the early nineties in empty, dilapidated post war prefabs in Hackney. The memory of the photographs was always floating around and surprisingly I’d  managed not to lose them. I’d worked with them sporadically over the years, but had never been able to resolve or adequately interpret what it was I was try to say with them. Working with them through woodcut has, I feel, come.

Wallpaper Series 1


£280 unframed £350 Framed

Wallpaper Series 2


£280 unframed £350 Framed

Wallpaper Series 3


£280 unframed £350 Framed

Website: Paul Dewis Artwork myblog

Paul Dixon

Most of these paintings relate to the form of books, exploring titles from particular works, such as ‘The Odyssey’ and Encyclopedia Britannica, using the title and book form as a starting point for the development of the paintings, each one combining a particular colour, composition, form or text that moves beyond the descriptive. Other works develop through more general themes, such as ‘Volumes 1 & 2’ or works such as ‘Orwell’ that communicates in a more indirect way through the image of a jacket.

The opportunity to exhibit work within the space of Holborn library inspired the idea of making paintings alluding to books but also integrates formal ideas/structures that I have been developing over time in my studio. So there is a relationship between both the private space of my studio and the public space of the library acknowledged in the work.

Wall. Left to right

Untitled. Noir. Volumes 1 & 2. Odyssey. Britannica.

Red column

Shirts. Shirt. Orwell. Untitled.

White column

Untitled. x 4

Oil and print on canvas


Alex Harley

Alexandra Harley works with a variety of materials to create a sense of movement in her abstract sculptures. The sculptures on display here are paper, a highly versatile material that allows ideas to develop before, usually, moving into another material. Paper sculptures formed the basis for a highly successful bronze casting residency in  Italy in 2016. She exhibits widely in the Uk and internationally.

Alexandra Harley has been teaching sculpture at Morley College for several years.

David Holah

My practice explores notions of sexual identity, gender in a ‘transmorphic’ state, and the social perception of ambiguous gender roles. I am interested in the displacement within society of atypical gender modes and the effect this has on my personal sexual identity. I have developed an alter ego that fulfils the more prominent female side of my personality and creates work employing stereotypical feminine imagery. The work produced is glamorous, decorative, ornamental, and camp. The male aspect of my personality is juxtaposed against the symbolism that surrounds the feminine.

The print work includes suggestive symbolism concerning gender disguise. It is self-indulgent, containing complex, subliminal elements that relate to my personal history and sexual identity. Disguise and concealment are key elements in the constructed symbolism. The work allows a continuing narrative to develop concerning possibilities that exist within ambiguous gender, both from a personal and social level of interpretation.

Read Series 1-6

Silkscreen , Relief  and Photo litho

£ 275 each


Duncan Hooson

Fancy goods was a Stoke-on-Trent term for ornaments. These objects are based on familiar and similar functional forms, things seen, remembered and dreamed.

Fancy Goods 2017




Julia Horbaschk

Worthing was once a thriving tourism resort. Now it is caught in a time of nostalgia and renewal. As a document the images trace the shapes of the palms set against the coast and sky and as B/W images they capture the fine textures of water, sky and leafs.

With harsh westerly winds some of the palms have not developed equally well.

For me the images are a metaphor for time passing and as a collective they question preconceived ideas of beauty and perfection.

Time for Trees

Photography on Hanemuehle Studio Enhanced Matt

£30 per 10 x 8 inch, 150 for a set of 6 (10 x 8) – frames/ mounts not included (prints on Hanemuehle Studio Enhanced Matt – archival fine art print). Can be printed up to A1 – prizes on request.


Joanna Hyslop

In recent years I have investigated the history of my grandfather, Charles Dobson, Vicar and Military Chaplain. This has taken me to libraries and archives in grand historical buildings and small cupboard-like rooms in this country and across the world. I have discovered words unread for decades, photographs of lost moments, typed reports annotated with blue ink or red pencil and soot-covered bundles of papers bound with grubby legal tape. Astonishingly, from such fragments and residues of a world long past has emerged a wonderful chronicle of a man’s little-known and all too short life.

The pieces in Holborn Library explore two elements: a manifestation of the span of my grandfather’s life (1886-1930), and his position as a witness to events both small and catastrophic, from his home in New Zealand, to the First World War, and to the tragic burning of Smyrna in 1922.


Indian Ink on Paper, Legal Tape

Price on application


Indian Ink on Paper

Price on application

Luke Jones

Luke Jones is a practising artist who primarily works from observation. He enjoys jumping from 2D to 3D in both painting, drawing and clay modelling. He currently is working with portraiture as his main subject. Inspired by Jan Van Eyck’s Arnolfini Wedding, ‘Giles in his studio’, is a study of artist Giles Corby and his homemade Dalek.

Giles in his studio 2

Oil on board (painting) fired clay and patina sculpture


Head of Hortense

Oil on board (painting) fired clay and patina sculpture

Price: £2,500

Terry Jones

I have a multi media working approach re-using where ever possible discarded and found materials, employing a multitude of techniques including carving, welding, forging.

Through conversations regarding social and current issues I formulate themes that embody my imagination, this combined with a strong grounding in tradition drawing, painting and sculpture informs my somewhat haphazard way of working.

Amuse Bouche

Wood and copper

Ranging from £150.00 – £450.00 depending on the size


Aliminium, Granite and Marble


Young Kim

“Because reading books and having them bound represent two enormously different stages of development. First, people gradually get used to reading, over centuries

naturally, but they don’t take care of their books and toss them around. Having books bound signifies respect for the book; it indicates that people not only love to read, but they view it an important occupation.” – Dostoyevski.

Bookbinding has been passionately involved in everyone’s life. Much loved not only for reading also as an complete art object that you actually can create.

Young is a bookbinder in London. She won the first prize and the Mansfield medal for the best book of the year in the designer bookbinders competition 2003, the British Library. She takes commissions such as fine bindings, book restoration, limited editions, artist books & box/portfolio making and works for collectors, artists, designers, corporations, galleries and museums including the British Museum. She also teaches bookbinding in Morley College as well as gives private tuitions.

Nineteen Eighty-four: The Facsimile of the Extant Manuscript

– George Orwell (London Secker and Warburg, First Edition Thus, 1984)

black goat skin, oil treated handmade paper, carbon, silk, acrylic colours


The life and Strange Surprizing Adventures of Robinson Crusoe of York, Mariner – Daniel Defoe (The Folio Society, First Folio Society Edition, 1972)

red goat skin, silk, paper, acrylic colours


Vanity Fair – William Thackeray (Hodder & Stoughton, London First Edition Thus, 1913)

black goat skin, gold leaf, paper, silk, acrylic colours

Price: £1,500.

The Portal, Pousette-d’art – Stephen Polcari, David Finn (Harry N. Abrams, Inc, 1988)

canvas, leather dust, paper, silk, metallic foil, acrylic colours

Price: £500.

hundert Ansichten der Speicherstadt – Martin tom Dieckanuscript  – George Orwell (London Secker and Warburg, First Edition Thus, 1984)

black goat skin, twine, paper, silk, acrylic colours

Price: £400


Brian McKenzie

Bosci makes occasional public appearances and again takes on his role here of hermit like sage. As a resident in the library he has housed himself in this forgotten cupboard, dedicating his time to research, learning and gaining deep understanding and clarity.

As forest creature, Bosci is blessed with bestial insight and free from the burden of confused human thinking. Bosci’s persona blurs differentiation between things being ‘human’ or ‘animal’, presenting us with the truth that there is no real distinction.

Animal within

various medium

Whole work NFS but some elements can be purchased

(please enquire directly to for sales )

Website: and

Steve Mepsted

I enjoy making photographic images on ready-made and found surfaces; where the picture becomes less of a surface and more of an object.  In this instance brown paper tie-on tags have been used to explore a potential narrative – these suspicious looking burnt objects and stains might have been recorded as evidence at a crime scene, or in the corners of a burnt out building.

‘Evidence – Unexplained Shadows’

Liquid Light Emulsion on Evidence Tags



Linda Powell

I have always ‘made’ from very young – lots of sewing and knitting at home and art classes at school – though the emphasis was always toward academic study.
Like many who grew up in large families and overcrowded homes in inner London (the Old Kent Road) in the 1950s and 1960s with little money for books, the local library played a vital role. It was also the quiet space for homework and study.
Yet fashion and clothes became predominant – it was the 60s after all – and it became the field in which I developed a career and later went into teaching.
But for me Art & Fashion developed into a continuum of creativity and why I later chose to do a Fine Art degree.
Now my practice is a mixture of both art and fashion – often creating soft sculptural work – combining my fashion skill with artistic expression – as in my exhibition piece here ‘Reading Space’

Reading Space


Price On Request

Website: instagram@lindapowellpatterncutting

Cara Rainbow

Influenced by her move from rural Wales to London, the contrasting visual landscapes and cultural differences inspire Cara Rainbow to create fictional characters that live in imagined worlds. To make sense of her surroundings she transforms into mythical characters who occupy spaces in different natural habitats, for example the forest, gallery space or a stranger’s door step.
Cara creates worlds through a multidisciplinary approach of performance, installation, video, sculpture and ceramics. She sees these fictional characters as different people, generations and cultures who are trying to make sense of their surroundings and figure out where they belong.

I Told You, I Don’t Have Favourites Vol.1 is made up of 50 seals. Each seal is unique in its appearance and names after the staff members at Morley College.

I Told You, I Don’t Have Favourites Vol.1

Name of seals: Matt, Fred, Shelley, Anna, Andrew, Peter, Adrian and Cathy


£120 each


I Told You, I Don’t Have Favourites Vol.1

Name of seals: Hannah, Lynda, Hardip, Sheila, Victoria, Malachai, Miranda, Pedro, Erika and David

£120 each


Ian Rawlinson

Ian Rawlinson’s work explores places of transition and aspects of internal and external change. These points of transformation are a recurring theme throughout his work. His most recent projects draw upon ideas of place and memory and he has been working on a series of exhibitions and short films inspired by lost areas of his hometown of Cambridge.

The new works in this exhibition further explore these ideas of place and memory. The works are site specific and respond to the transitional nature of the library building and its history, which is made more poignant in light of the potential threat to the library’s existence. The works were made using photography, drawing, painting and digital enhancement.


photograph, digital enhancement, acrylic, graphite on paper



photograph, digital enhancement on paper



Andrew Revell

Tekton series explores the compositional possibilities available from a single plane of rigid material.

I draw with the sheet and a knife; rapidly, intuitively, precisely, constructing dynamically in three dimensions.
The first cut determines the next and so on – form follows counter form – until all the pieces of a rectangular plane are used up – no waste or additional material. If I don’t have enough, then I have to rework what I have – I stop when I am convinced of the object.

#9 Blicero

hot rolled steel plate


#10 German Bight

hot rolled steel plate


Website: http:/

Helen Smith

Holborn Library is evocative with memories-borrowed books and interesting named

albums in a time when music was vinyl and the internet did not exist. My work often

explores the memories and feelings of times past, briefly rekindled. I enjoy combining different materials to create a fleeting moment or scenario.


Copper, glass, organic materials


Ben Swift

Ben’s work explores self-organising forms with an emphasis on the gestural qualities

involved in the making process; creating rhythms, textures and empathy with the chosen medium. His material usage is wide ranging, from ceramics to metals to found object. He incorporates transformative processes such as firing, casting and fabrication to achieve works that are quiet but allude to larger concepts, often to do with the mathematical, geometric and astronomical, but always mediated by the limitations and thus the

expressive capabilities of hand and eye. He teaches sculpture at Mary Ward Centre,

Morley College and Working Men’s College. This work is supported by an enthusiasm for invention and innovation, that he endeavours to pass on to students.


Ceramic and Copper

£75- £100 each

Book End



Sheila Vollmer

‘Stretched Blue’, is the fourth Installation piece that I have explored within this vein of work and with these particular materials.

The original idea came out of feeling personally stretched juggling life and wanting to express this energy playing with suspended line, geometry and light connecting inside outside spaces.

I wanted to respond to the colour and echo of the children’s library space and by what was revealed under the red panels: the hidden windows, cupboards and glass blocks letting light in from the street pavement above. There is also sadness in this abandoned space and in the loss of the whole building’s community use for the sake of ‘progress’.

Canadian born, I am London based since 1987 after post graduate studies in Sculpture at

St. Martin’s School of Art, London and BA Honors Art, University of Guelph, Canada.

I have enjoyed working at Morley College teaching sculpture since 1991.

Stretched Blue

polypropylene rope, eyelet fixings, & dexion metal angle



Annette Welch

The two ceramic pieces are sketches, collages in clay – my initial response to the space. Traces of old fixtures and fittings and faded interiors hint at the richness of past history.

Holborn Library 1

Ceramics, Stoneware


Holborn Library 2

Ceramics, Stoneware



Carol Wilhide Justin

Carol Wilhide Justin makes woodcut prints from her own digital photographs. The camera’s ‘decisive moment’ and the woodcut’s lengthy reinterpretation of the same image are combined allowing the character of her subjects to be crystallised in an atmospheric and emotional way. Memory, as narrative, as emotional truth, as time and in its fallibility lies at the heart of all her work. In a world increasingly driven by the digital, Carol’s work celebrates a belief in the haptic and analogue. Woodcuts are time consuming to produce, slow and exacting, built one layer at a time, the result of decision and deliberation.

Carol was awarded a residency to study Japanese woodcut in Japan from japanese senseis. Her woodcuts are made using the mokuhanga technique where water-based pigments are used instead of the more traditional Western oil based inks. This lends the prints a more nuanced quality where the woodgrain can subtly show through the layers of paint. The use of monochrome is a means of transforming the original image, distilling it to its essential truth and meaning.

In the Fold of the Sea

Japanese Woodcut



Kate Wilson

Walking around Holborn Library, I was particularly struck by the 60’s abstract repeat patterns on the walls. I was born in 1965 and so these triggered memories from childhood – of patterns printed on Formica in my Mum’s kitchen, my Dad’s office, the counter of the fish & chip shop and the tables in the “Wimpy” restaurant on the high street.

I’ve therefore worked on turning one of my drawings of water into a repeat pattern. I started on the computer in “photoshop” where I cropped, manipulated and tiled my scanned drawing. This I have printed out as a giclée print.

I then made a linocut tile and printed this by hand. My vision for a whole wall of handprinted wallpaper has been limited by my inability to match up each tile accurately enough! I therefore display a small section and am going away to sign up for some classes in textile printing at Morley College, where I hope to learn the skills to do better next time.


Giclée print and lino cut



Steve Wright

‘Medusa Inverted I & II’ is a pair of drawings depicting two ancient Roman heads of the gorgon Medusa. These were re-used by a later generation of Roman builders during the construction of an underground cistern in Istanbul. Their position and worth were inverted when they were submerged under-water to form the bases of columns. They can still be seen in situ today.

Steve Wright is a painter who teaches courses in Painting and Drawing at Morley College.

Medusa Inverted I

Ink, paint and crayon


Medusa Inverted II

Ink, paint and crayon



Rob White

Form over function, function over form in the workplace and at home. My interest lies in functional mundane everyday objects.

Office Window  Monday Morning 9:30

digital print


Office Window Friday Evening 17:30

digital print