Dillwyn Smith was born, lives, and works in London. He completed his MA in Painting at the Royal College of Art, London, in 1986. As a painter, he explores the subtleties and possibilities of painting. Over the years, he has developed a unique, experimental approach that often features stitches and stretches of mass-produced fabrics, transforming them into geometric kaleidoscopes.
Recent Solo Exhibitions: In Praise of Love’ (2024), Kearsey & Gold • ‘Light Cages’ (2019), VO Curations • ‘Teacher’s Pet’ (2018), Patrick Heide Contemporary Art
Key Residencies: • 2012: Warp and Weft, Omani Society of Fine Arts, Muscat, Oman • 2013: The Windows, Daugavpils Mark Rothko Museum, Latvia — notably becoming the first British artist to present a solo exhibition there • 2014-16: Silvering the Cerebrum, Queen Square Brain Bank, London • 2019: Abbey Fellow in Painting at the British School at Rome
Dillwyn was instrumental in the founding of Delfina Foundation (2006-08), where he co-produced and collaborated on ‘La Terra de Nadi,’ a visual response to the Alhambra Palace for The Hay Festival in 2008.
He served as an invited Visiting Artist/Lecturer at The National Gallery, London, from 2000 to 2018, and was one of the ‘NG27’ who successfully took The National Gallery to tribunal, winning a landmark ruling for worker status for all ‘freelancer’ educators in the UK in 2019.
“I believe Dillwyn is one of the best and most original painters in the country. I have followed his work over the years and have observed several new developments that have astonished me by their originality and range. Some of his most original and best works, using different types of coloured fabrics stitched together and stretched onto frames, were the result of a residency in Oman. These works are imbued with local atmosphere while remaining absolutely within his own singular mode of expression.” — Phillip King PRA, 2018
Thomas Gosebruch. Originally a painter, and after a detour into sculptural ceramics, Thomas Gosebruch now works on paper. He describes his way of working as: all about accepting and rejecting, after, while and before the hand touches the paper. About watching the impact on the whole of the mark just made. Steering and letting it loose again – immediacy colluding with detachment. He taught in Nigeria and in China, and for 21 years at The National Gallery and City Lit. He was the 2023 winner of both the Woolwich Contemporary Printmaking Prize and the Printmakers Printmaking Prize.
- Studied Painting at Hochschule für Bildende Künste, Hamburg and The Royal College of Art, London
- MA in Printmaking at Hochschule für Bildende Kunst, Braunschweig
- Lecturer at University of Nigeria, Nsukka (1987)
- Diploma in Ceramics at City Lit, London (2000)
- Shortlisted for The Jerwood Drawing Prize (2015, 2012, 2011, 2010)
- Visiting professor at Central Academy of Fine Arts in Beijing and at Xi’an Academy of Fine Arts in Xi’an, China (2013)
- Currently teaching at The National Gallery and City Lit in London
- Annual Artist Residency at Opificio della Rosa, in Montefiore Conca, Italy (2017 to 2024)
- Winner of the Woolwich Contemporary Print Fair Prize and the Printmakers Printmaking Prize (2023)
Anna Liber Lewis is a painter. She was the 2013 recipient of the Genesis Foundation Scholarship to study at the RCA, gaining an MFA in 2015. She holds a BA from Central Saint Martins. Winner of both the Griffin Arts Prize and the Young Contemporary Talent Prize supported by the Ingram Collection in 2017. Her first solo show was at Elephant West, commissioned by Elephant Magazine. It is a call and response between music and painting. The project lives on via the Four Tet EP, Anna Painting.
Dance and music, rhythm and repetition, often drive the work. Her paintings bring the mind and body together via ritualised physical processes that regulate her autonomic nervous system. Over the past 5 years Liber Lewis has been concerned with concepts around how the body holds and releases trauma and Polyvagal Theory.
“What’s quietly radical about these images is how utterly Liber Lewis has internalised and personalised her own language of painterly abstraction. There’s no strategic positioning here, and no call and response to Abstraction’s origin story. And, powerful as the work is, there is clearly no macho posturing. It gives her great freedom for variety and for play; from the tongue in cheek of hiding her name in the various works, to the encoded dynamic explosion between foreground and background.” (Excerpt from exhibition text: ‘Cryptography, 2023)
She has shown widely in the UK and Europe. Her work is held in many private collections. She lives and works in London.
Ansel Krut was born in Cape Town, South Africa. His work remains informed by the years he spent growing up in South Africa, his art retaining what Ed Krčma in a catalogue essay called “an unapologetic will to insubordination”, with imagery that has “arisen from a ferment of intermingled sources: from the enchanted collective narratives of folklore, to the differently dark ruins of history”. He studied medicine for 2 years before switching to Fine Art and he graduated with a BA from the University of the Witwatersrand in 1982. After a scholarship to the Cite des Arts in Paris he completed an MA in painting at the Royal College of Art in London. He was the Abbey Major Scholar in Painting at the British School at Rome in 1986/87 and then stayed on in Italy for a subsequent 3 years, returning to London in 1990. He now lives and works in London.
Krut was a visiting lecturer at the RCA from 2006 to 2014, the Drawing Fellow at Wimbledon College of Art, London 2005-2007, and he has taught at many other art colleges throughout the UK. He was an artist-lecturer at the National Gallery in London from 2004 to 2012.
“Ansel Krut’s extraordinary paintings take us back to 20th century existential angst and its unending inquiry into identity, fate, and self-determination. His painterly style may seem casual, crude, and ludic, but this is work of high seriousness and deep moral content.” (Alfred Mac Adam in the Brooklyn Rail, 2019)
THE FILMMAKERS:
Until the early 2000s, Bruce Eadie was managing director and producer at the production company, Worldview Pictures, producing feature-length documentaries and series, financed as international co-productions and through post-sales. Involved in all creative aspects of productions, Bruce also managed budgets of up to $3.6 million (DCI/The Learning Channel: ‘War & Civilization’).
Recently, Bruce has been engaged in academic work, completing a PhD on fictions in documentary film, publishing articles, lecturing, editing the film section of ‘The International Journal of Psychoanalysis’, and working on his forthcoming book ‘Fiction in documentary film: a psychoanalytic exploration’ (Routledge, 2027).
FILMOGRAPHY: (only award-nominated or award-winning films listed):
2000: ‘Stockpile: The New Nuclear Menace’ (82 minutes). Inside the nuclear stockpiles at Los Alamos in the US and Arzamas-16 in Russia. Finalist, Hollywood Film Festival (2001). Produced in association with The Discovery Channel (US), EO (Netherlands), DRS and TRS (Switzerland).
1998: ‘War & Civilization’ (8 x 1 hour series). A history of warfare. GOLD WORLDMEDAL, New York Festivals (1999). Produced for The Learning Channel (US) in association with La Cinquième (France).
1996: ‘Nuremberg’ (54 mins). The story of the Nuremberg Trials. EMMY winner, 18th News & Documentary Emmy Awards (1997). Produced in association with The Discovery Channel (US), YLE-TV2 (Finland), Channel Four (UK), AZ Media for RTL (Germany), OE (Netherlands).
1995: ‘Raising Hell: The Life of AJ Bannister’ (84 mins). The life of a death row inmate in Missouri. Silver Plaque, Chicago Film Festival, and Finalist, International Documentary Film Festival, Amsterdam. Produced in association with The Discovery Channel (US), BBC (UK), France2, YLE-TV2 (Finland).
1994: ‘Drancy: A Concentration Camp in Paris 1941-1944’ (54 mins). The story of the half-built housing estate in Paris used to house Jews before they were sent to Auschwitz. CableACE Award Winner, and Finalist, USA Film Festival (1995). Produced in association with France2, The Discovery Channel (US), Channel Four (UK), ABC (Australia), YLE-TV2 (Finland), SVT (Sweden), TV2 (Denmark).
1993: ‘The Lynchburg Story’ (52 mins). The compulsory eugenic sterilization program in the US state of Virginia. Certificate of Merit, San Francisco Film Festival Golden Gate, and Selection Hons Concours, Banff Television Festival (1994). Produced in association with The Discovery Channel (US), Channel Four (UK), France2, YLE-TV2 (Finland), TV2 (Denmark).
Bartek Dziadosz is a filmmaker and Lecturer in Critical Media Practice at Birkbeck, University of London. He is the Director of The Derek Jarman Lab at Birkbeck. The lab is a research centre and production company making essay films distributed by Curzon Artificial Eye and Criterion. Bartek’s first feature, The Trouble with Being Human These Days (2013), was a hybrid documentary about Zygmunt Bauman and liquid modernity. He later co-directed The Seasons in Quincy: Four Portraits of John Berger (2016) with Tilda Swinton, Colin MacCabe, and Christopher Roth.
Bartek’s short films explore a wide range of subjects, from the history of subliminal advertising (Nothing Exists Until You Sell It, 2021) to the portrait of a Bakelite artifact collector (The Plastic Phoenix, 2020) to the politics of outdoor theatre (Declamations!, 2025). His films were funded by the AHRC, the Wellcome Trust and the British Academy.
Bartek also produced Weaving Knowledge (2023), directed by Anita Afonu, and served as an editing consultant on the award-winning An Insignificant Man (2016) by Khushboo Ranka and Vinay Shukla.
He studied at the Jagiellonian University, Westminster Film School, and the London Consortium. His PhD focused on theories of editing, and he now teaches cultural studies and media practice at Birkbeck and the Pittsburgh-London Film Program.
Bartek’s latest film, The Hexagonal Hive and a Mouse in a Maze, a film essay about learning, AI, and imagination co-directed with Tilda Swinton, premiered at Sheffield Doc/Fest and Telluride in 2024.