Ana Pallares


Ana Pallares, born in Barcelona in 1993, is a self-taught artist, whose practice reflects on pain, death and other intangible realities which all too often occur with little reason.

Ana says, “I strive to find, and attach, new meanings to these realities, hoping to present them in a healthier, more manageable way – ultimately aiming to turn destructive feelings into constructive action.”

She also portrays characters that she is intellectually, emotionally or sexually attracted to. She has exhibited in Barcelona, Madrid and London, at The Hundred Years Gallery, The Brick Lane Gallery, Lacey Contemporary, Walton Fine Arts and the Illustrated Art Fair, 2016.


Ana’s first solo shows appeared in London last year, at The Hundred Years Gallery and Ziferblat. She has occasionally worked as an illustrator for digital culture magazines.


In this online exhibition you will find a collection of works that Ana Pallares created between 2015 and 2016. The works were done using Posca markers and acrylic paints on paper or linen.

Universe with its galaxies.

Galaxies with their planets.

Planets with their countries.

Countries with their cities.

Cities with their humans.

Humans with their problems.

Problems with their causes.

Causes with their context.

Ana Pallares with all these stuff inside her head to she’s getting crazy because she has a universe on her mind.


See more from Ana at her Tumblr site,  Instagram and Facebook profiles. If you would like to contact Ana, you can do so, here.

Images below from Ana Pallares solo show at The Hundred Years Gallery.


Susan Mary Gratwick: New work, explained

Nelson: Colonisation, Consequences | ©Susan Mary Gratwick
Algorithms | ©Susan Mary Gratwick
The Spiritual Form of Nelson Guiding the Leviathon – Homage to William Blake

All words and images, ©Susan Mary Gratwick.

I first saw William Blake’s painting, The Spiritual Form of Nelson Guiding the Leviathon, way back in 2007, on a visit to a workshop in the Tate Britain. The image would not leave me. I saw the writhing bodies squirming in and out of the labyrinthine form of the Leviathon, the sea monster, the nearly naked form of Horatio Nelson standing on the back of a crouching black man. And I thought of all the suffering of these different peoples all around this planet of ours, in order to create wealth. Even the Tate itself, purveyor of art to the masses, would have not existed but for slavery, based in and on the sale of sugar, again based in and on the Slave Trade.

For every action, there is an equal and opposite reaction.

“The statement means that in every interaction, there is a pair of forces acting on the two interacting objects. The size of the forces on the first object equals the size of the force on the second object. The direction of the force on the first object is opposite to the direction of the force on the second object. Forces always come in pairs – equal and opposite action-reaction force pairs.”

This is Newton’s Third Law of Motion, and I wonder if this can be applied to actions in political and economic history, such as Slave Trade. I don’t know, but I question it. It somehow feels as if we have built our civilization on moral quicksand, almost as if I had personally murdered someone in order to have the standard of living I now have. William Blake’s tempera painting, with the ‘spiritual form of ‘ Horatio Nelson, the loci of British courage, heroism and valour, standing on the back of a crouching African, reminds us what happened, ‘lest we forget’.

 “Firstly you must always implicitly obey orders, without attempting to form any opinion of your own regarding their propriety. Secondly, you must consider every man your enemy who speaks ill of your king; and thirdly you must hate a Frenchman as you hate the devil”
Horatio Nelson to a midshipman aboard the Agamemnon (1793).

I had been thinking about how Great Britain became wealthy in the first place, how this was via the slave trade, and how Horatio Nelson defended this power on the world stage. Slavery created great power and wealth for the powers that were [and are] so, in order to become a world power, to create wealth, someone benefits and someone loses. Slavery, devoid of morality, was a logical means of creating wealth and it was of course morally unsound. To see another human being as a lesser mortal was expedient. Wealth creation on that scale based on logic, rational and expedient thinking –  see today’s algorithms which control movement of capital in the stock exchange – but is immoral, as the consequences on the planet and human life and living standards of the ‘ordinary man’ are not part of the equation. Morality is not part of an algorithm.

Alone, stands she weeping | ©Susan Mary Gratwick

I love icons, they emanate something directly to my heart. I can deconstruct Christianity, see how it has been and can be used as a tool of politics and control, yet, Christian icons bypass the literature somehow.

I think of the dark side of Christianity and I think of the young girl from Nazareth, who, by a trick of history became a focus of veneration throughout the world, and, imagine that if she actually existed, she might just look on and weep.

Bird Pecking My Heart Out | © Susan Mary Gratwick

I think that this painting is about fear.

Alone Stands She Falling | ©Susan Mary Gratwick

This is a ‘What am I?’ painting and is just showing a physicality, and this one wonders what she is doing and where she is going.

‘Fish or Snake? That is the question, whether ’tis./Stasis’ | © Susan Mary Gratwick

Again, she is wondering what to do…

‘Whether ’tis nobler in the mind to suffer
The slings and arrows of outrageous fortune,
Or to take arms against a sea of troubles,
And by opposing end them?’

I think that the fish represents Christian ethics and values and the snake, knowledge.

I look at the world today, at our cultural values, codes of ethics and the confusion therein. There seems to be a criss-crossing of multitudinous interconnections, inferences, influences, and so very much history and I wonder about it all.

Review: Terence Wilde & Harrison Moore, ‘Shared Insight’

Screen printed t-shirt by Terence Wilde and Harrison Moore. More images and video, below.

Six months ago, artists Terence Wilde and Harrison Moore had never met. Harrison was, and still is, a third year Fine Art student at Central Saint Martins. Terence was, and still is, an established artist and art and textiles instructor at Bethlem Royal Hospital.

Six months later we have arrived at June. Terence and Harrison, together, have produced an impressive range of collaborative work, amassed many hours of filmed discussion and pushed personal boundaries to develop new approaches and methods of working.

Their meeting was the initiative of Outside In, who selected Terence and Harrison to work together on a four month residency, located at Free Space Gallery in Kentish Town, and Central Saint Martins in King’s Cross.

Together, the pair disseminated what it means to be artists working in contemporary London, arriving at their ultimate outcome by going on the creative journey itself. Their collaborative residency culminated in an two-floor exhibition at Free Space Gallery. The exhibition demonstrated their working methods, films, scripts, photographs, modified t-shirts and artworks created during their four months together.

Back in January, prior to the residency, I met Terence at the Tate Modern to discuss an upcoming Mental Spaghetti exhibition he took part in. He’d just been given the news that he would be awarded the residency opportunity. It was a lot to digest, he was excited and apprehensive, worried whether he would live up to the opportunity, and work well with the other artist involved.

The next time I saw Terence, he had met Harrison, and discovered that not only did they get on well, but Harrison had much the same worries as Terence, in relation to their place in art, and how the residency, and working together, would go.

Being given this opportunity, offering great potential, to explore and create, knowing that at the same time it will expose more of who we are, would make anyone nervous. Adding to the mix, a collaboration with someone, who, at the point of entry, is a stranger, to lay everything bare and work together, both responsible for the outcome, is without a doubt daunting proposition.

That was the beauty of this collaboration – documenting and sharing feelings of of identity and sense of self that we all feel, but often think we don’t have the license to express. That we must only succeed and absolutely not show any misgivings about our process.

I found the confessional side of Terence and Harrison’s process so profound; the majority of their intimate discussions based on life experience, such as love, loss, mental states and identity, so accessible to all of us, as vulnerable as we are underneath, in comparison to the considered image of who we are, that we present on the outside. An armour of sorts.

Terence and Harrison had produced, quite organically, through their discussions and discovery of each other, soundbites, slogans and ideas that allowed a pointed insight to the human condition. It was entirely human – inquisitive, touching, indecisive, self-assured, self-doubting, playful and serious.

I hope to see more from Terence and Harrison, working together, although not physically together at the residency any more. They have a collaborative blog, which I hope they will keep updating, now that they have moved on to new projects. To see more of their work, please take a look at their websites: Terence Wilde & Harrison Moore.

Background to the residency

“In 2014 Outside In worked with the University of Chichester to pair an Outside In artist with an MA Fine Art student to see how they could learn from each other in both life and in artistic practice.
Such a fruitful relationship occurred that Outside In wanted to replicate it with other university students and Outside In artists. The Kentish Town Health Centre approached Outside In about the possibility of a residency, and Outside In then approached Central Saint Martins to be part of the collaboration.
Proposals were received from both current and alumni students from the Fine Art Department. Harrison and Terence have got on really well, worked across many new disciplines and have developed their own artistic practice and ways of thinking. It seems that both artists will be leaving the process in a better mind set, but also as friends.”
Outside In
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