Home Bodies

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Come in.

Mew Welch

(I did do wordle though…)

POA

Mew is a St Leonards–based artist working across textile, ceramic and paint. Her practice explores the visual language of popular culture, fusing ephemeral signs and symbols with bold colour and playful materiality. 

A former member of Elastica, she brings a multidisciplinary perspective to her art, shaped by curiosity, contrast, and a sense of immediacy. 

In 2023, she completed a six-week artist residency in Mexico City and was included in ‘Defaced! Money, Conflict, Protest’ at the Fitzwilliam Museum, Cambridge. Mew holds a First-Class Honours degree in Fine Art and continues to develop a dynamic, process-led approach to contemporary making.

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Katie Pitcher

Fruiting Bodies

£200 each

Katie Pitcher’s practice revolves around exploring the body’s physical presence, its cultural perception, and the internal dialogue that surrounds it. Working primarily with drawing and printmaking techniques, she engages with the body in ways that challenge traditional representations and perceptions. Recently, her focus has expanded into printing on plaster – a medium that feels deeply intimate and tactile, echoing the body’s own forms and contours.

Her work is informed by personal experience of an eating disorder and an evolving relationship with her body, which continues to shape her creative process. Through printmaking, Pitcher seeks to capture the complexities of the body, creating a space where its physicality can be both marked and explored. The use of plaster becomes a method of both recording and transforming – preserving and disrupting the body’s shape, texture, and identity.

Pitcher’s practice invites questions about how we see ourselves and how we are seen by others. Through her prints and installations, she encourages viewers to consider the tension between appearance and reality, the internal and external, and the fragile, vulnerable nature of the body as a site of scrutiny and self-discovery.

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Ellie Briffit

Nans Bararith

NFS

Ellie Briffitt is a multi-media sculptor exploring materiality, inspired by the everyday and family. This piece delves into the techniques of Irish lace and filet crochet, as well as the net curtains that hung in her nan’s flat. Notions of craftsmanship, the personal and historical contexts of recipes, and the handmade quality of the piece are intertwined. This work exemplifies the synthesis of memory, craft, and familial bonds. 

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Lee Henry

JM Matrix

£225

Lee Henry is an artist printmaker based in St Leonards-on-Sea. His practice centres around portraiture, often weaving in enigmatic or unsettling elements that challenge the viewer’s perception. Cats frequently appear in his work – creatures that may be curious, playful, or menacing, their intentions always left ambiguous.

JM Matrix is an archival fine art print, featuring a distorted face and a glowing, sun-like emblem. Embedded within the composition are hidden forms, almost invisible at first glance. The work plays with ambiguity and perception, creating a layered viewing experience and a dream-like surreal space. 

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Courtney Snow

Poland and For Violette Leduc

£150 / £180

Merging dreams and rumination, these pieces work in tandem to a continuous writing practice. Courtney Snow explores the living form, with curiosities in how and why she must be tied to the earth. She is interested in the delicacy of the feminine experience, the biological self, and humanhood. Occasionally turning to the natural world and my immediate surroundings, Snow collects flint, shells, rocks, pipe, wood, sticks, soil and draws with those. Nothing permanent and everything borrowed. The works are drawn from childlike misinterpretation and personal ethnography, distant relations to places in the East and how they could never truly return her love. 

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Libby Pearman

Teddy Archive

£25 per teddy

Dealing with the feeling of nostalgia, Libby Pearman seeks to evoke the commemoration of personal belongings and environments close to her audience. Exploring these themes through a variation of painted, printed and drawn illustrations, Pearman leaves traces of ambiguous narratives to be decided by the viewer. These fragmented stories have parts missing resembling the transient nature of recollection. The artist records her subject matter through the capturing of day to day photographs, observing the significance of the modern camera roll in preserving memory. 

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Vanessa Farinha

Warning Signs

POA

A Multidisciplinary Artist, Vanessa Farinha’s work explores the hybrid identity and how the spaces between definitions like class, nationality, and gender might create a space for understanding, dialogue & action. 

For the past year, she has been researching and creating work exploring the impact architectural design has on a persons experience of the world, specifically within social housing. 

Having recently completed the development programme with Flatland projects as well as working on commissions with Auto Italia and MOCA London galleries, Vanessa is currently working towards a performance commission with Home Live Art & Marlborough Productions.

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Annalaura Palma

From the series A Cloth over a Birdcage 

£450 each (one NFS)

‘A Cloth Over a Birdcage’ is a series of collages by Annalaura Palmer that draws on her background in dance and psychology, alongside a long-standing interest in the representation of landscape in relation to emotional and sensorial subjectivities.

This series borrows from the sensory imagery and somatic principles of her dance practice to create images with an embodied quality. Palmer explores texture, visual rhythm, and the punctuation of shape and colour, aiming to evoke the interwoven nature of emotion and sensory experience and how this relationship shapes our perception of the natural world. As the title suggests, A Cloth Over a Birdcage reflects a quiet act of looking inward.

Palmer keeps her process deliberately simple, using only glue, a scalpel, and paper. This pared-back approach allows her to work intuitively, letting the pairing of images arise from sensation rather than concept. She is particularly drawn to minimal gestures, peripheral details, and accidental marks within photographs – elements that often carry an unexpected emotional resonance. Through a process of cropping, reframing, and subtraction, she removes information from the original images, allowing overlooked or hidden details to surface, and offering a space for contemplation and emotional presence.

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Meghan Salisbury

Crust Divers

£2,000

Within ‘Crust Divers’, bodily forms and gestural marks emerge from, intersperse and drown  one another. Deep reds churn, lymph yellows wriggle, sinewy pinks hang their mouths  open and misty greys create space to tumble into and from. The work is cramping, tingling,  blushing, bloating – exuding both the vulnerability and exhilarating intensity that comes with  having a material body.  

Meghan Salisbury is currently the Artist in Residence at The Royal High School Bath, and completed her BA at The Slade School of Fine Art in 2024. In short, Meghan creates bodily, pulsating oil paintings which give visual language to the processes and forms people are made up of, but often can’t see or name.  

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Lucy Davies

Untitled

NFS

Lucy Davies is a Hastings-based artist who works in sculpture and video, using fleshy colours and bodily visuals to articulate experiences with grief and anxiety. This sculpture is part of an ongoing piece exploring the embodiment of emotions, from a deconstructed sculpture that expresses her experience of continuing with life through grief. This has evolved to reflect the artist’s experience of anxiety, becoming a visual exploration of how it manifests and is managed. A central focus is the ‘character’—a figure with long, intrusive fingers that reach into her mind, unsettling thoughts and stirring chaos.

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K Shields 

GUTS (The Enchanted Forest)

NFS

‘[An] analogy for the digestive system would be a dense, teeming, and enchanted forest that borders two worlds within a single ecosystem, a transition zone between what we call the world and what we call our bodies’ – Inflamed: Deep Medicine and the Anatomy of Injustice by Rupa Marya & Raj Patel

‘GUTS (The Enchanted Forest)’ by k shields is an ongoing project featuring multimedia manifestations referencing the artist’s lived experience of Ulcerative Colitis: a long term chronic health condition affecting the large intestine. Enter an immersive landscape where the internal meets the external creating a liminal space between our bodies and the world outside.

This project was developed alongside Sussex University’s Digital Humanities Lab during a three-month artist residency. It was supported by Laurence Hill, digital art curator and visiting research fellow in the Lab.

K Shields (any pronouns) is a neurodivergent, Disabled artist living and working on the UK South Coast.

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Anne-Marie Watson

2/13, Story and 7/13, Marie

£800 each

Anne-Marie Watson is an artist, curator and community organiser specialising in creative arts and wellbeing. Her art includes intricate drawings formed of tiny handwriting and large text posters which describe personal memories, thoughts on interesting ideas and topics or the same word repeated to fill the page. She has had exhibitions at Project 78, Newlyn Gallery, Bury Museum and Art Gallery, and currently has a solo exhibition in Hypha Studios, Priory Meadow. She was also artist in residence at Hastings Museum and Art Gallery in 2023.  

She works with Women’s Voice, a charity which supports and empowers local women, trans and non-binary people in Hastings and St Leonards and is part of Hastings Rental Health Housing Cooperative who are creating long term affordable housing for people with no access to the housing market. 

Story and Marie are part of a series of works called The Story So Far By Anne-Marie Watson This Is My Revolution. Taking the form of a written text told in the first person they detail memories and reflections on her life to date. The writing is a free and associative process which allows for daydreaming and tangential ideas, somewhere between fact and fiction. Together the 13 drawings represent the number of moon cycles which can occur over a year. Watson chose colours to reflect the names traditionally given to each moon cycle: Blue Moon, Pink Moon, Harvest Moon.

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Katie Pitcher

Inside (series)

£50-100 per piece

Inside is a series of paper-based works by Katie Pitcher exploring the body through visceral, close-up, and somewhat erotic imagery. Printed roughly in colour, these intimate compositions evoke flesh, desire, and discomfort, via the subject of food. 

Pitcher’s practice draws on personal experience and her evolving relationship with food and the body. Using printmaking as a tool for both exposure and reflection, she challenges cultural perceptions and representations of physicality. Inside continues her investigation into the body’s complexity.

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Ell Silk 

Straw Parachute

NFS

We live suspended where memory, moments, materials, meet. Straw Parachute embodies all that we cling to, to make us feel safe. It sees all that we have surrounded ourselves with, wrapped ourselves up in, wrapped up in ourselves. It reminds us that, that which imperceptibly became us – inevitably becomes, through the passing of time, the very things that prevent us from living. 

Ell is a Hastings-based artist with a sculpture focus. 

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Wolfgang Woerner 

Table Talk (series)

POA

Wolfgang is a German-British mixed-media artist whose work spans disciplines, cultures, and dimensions. With a foundation in architecture, he grew up in Germany before relocating to London in his late teens. His dual heritage and experience of living between cultures are central to his artistic practice. Rather than treating identity as something fixed, he explores it as fluid – shaped by memory, place, and everyday encounters.

For Wolfgang, touch is fundamental. He is drawn to materials with histories – discarded toys, linen napkins, hotel bedsheets – objects embedded with stories, becoming silent collaborators in the work. Wolfgang’s work explores personal and collective space. Each piece reflects a dialogue between material and memory, where process and sensation shape the outcome. 

This work is part of an ongoing series on ‘discarded napkins’ – a chronicle of fleeting moments that linger, absorbed into the fabric, retold in fractured ways. Lips touched, mouths wiped, words drift across tables and sentences suspended in mid air. 

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Eleanor Turnbull 

Settle

£1,200

Eleanor Turnbull (b.1992 County Dhuram) is a British sculptor and gardener based in West Cornwall, UK. An upbringing among rural landscapes and communities holds a strong presence in Eleanor‘s experimental mould-making practice. Exploring the relationship between bodies, landscapes, and ecosystems, Eleanor casts directly from the land often using foraged and waste materials, mending techniques and slow, sensory making to counteract ecological and social disconnect. 

Eleanor holds an MFA from the Slade School of Fine Art (2022) and a BA in Sculpture from Central Saint Martins (2015) and upon graduating was awarded a two-year studio programme with ACME and the Sarabande Foundation’s Emerging Artist Fund.

Eleanor transforms rockpools and puddles with material, process and armature. Rockpool’s hang over pipe-work as if drying; inverted puddles assuming the form of a belly or the bowl of a spoon. Eleanor is a mould-maker, using her bodily limitations to cast outdoors in the elements. Material and site are collaborators – where do materials want to flow, and how much will the tide uncover? Materials describe the artist’s interactions with the land; squishing, retting, brushing, couching, rubbing, laminating.

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Bethany Stead

Conch Slip

POA

Working across drawing, painting, sculpture and textiles, Bethany Stead draws upon allegory, iconography, feminist theory, psychology, sci-fi and philosophy through visual storytelling and object making, culminating in symbolic spaces that disrupt our fragile socio-political fabric. She attempts to explore the discomfort and awkwardness of inhabiting bodies, both biological and artificial, the history of bodily health, the human connection to clothing and costume, notions of worship and religion, and our relationship with the non-human sphere through the lens of class. 

This piece signals a new development in her work, where sculpture and painting coalesce in the form of fresco fragments or tablets, and earth pigments are embedded into the layers and skin of the lime plaster body.

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Rossanne Pellegrino

Always Carry A Handkerchief and A Safety Pi

£450

Rossanne Pellegrino is an Australian mixed media artist who grew up in Adelaide, lived in London and is now based in St Leonards. 

With found imagery as her basis, Pellegrino uses collage to intervene and change the images’ original meaning. Materials such as textiles, embroidery, household items, children’s toys and sweets, and handmade clay replicas of found objects appear in her work. Pellegrino also uses colour palettes from the technicoloured hues of MGM Studio ‘Saturday Matinee’ movies from her childhood, sherbet tones from 1960’s musicals and the hazy-faded tones of old photographs from family albums.

Pellegrino’s use of various techniques such as embroidery on photography, printmaking and Polaroid manipulation have resulted in a diverse body of work; from black and white photojournalism to expressive imagery that blurs the border between photography and the handcrafted.

Pellegrino has exhibited her work in the UK, Australia and Europe including at Royal Academy of Arts, Tate gallery, Royal College of Art, Hastings Museum and Gallery, Centre for Contemporary Photography (Australia) and more. Publications the artist’s work has been part of various publications including the Royal Academy Summer Exhibition Catalogue, Art Seen and Women United Magazine.

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Lara Baksu

Ode to Womb (film)

Turkey, UK.

Single-channel video, 29 minutes
Edition of 5 + 2 Artist’s Proofs
Price: £1,000 (includes signed certificate and digital master)

Ode to Womb is an experimental film structured like a tarot reading. After receiving a message from the Greek goddess Hekate, a witch journeys through Anatolia to uncover the suppressed history of magic and womanhood in her ancestral land. Each scene corresponds to a tarot card – forming a ritual, a dream, and a cinematic pilgrimage. Combining found footage, domestic ritual, and dream logic, the film explores themes of exile, feminine memory, and the politics of spiritual lineage.

Baksu’s practice centers altered states, feminist mysticism, and autobiographical cinema as a site of witnessing. She is currently researching the figure of the witch in Turkish cultural memory and the ethics of filming madness.