British Art Fair 2026

ALASTAIR GORDON

b. 1979, Scotland, UK

“I don’t seek a view but a sense of place. From here the paintings are developed in the studio to appear as drawing boards and sketchbook work. Oscillating between hyperrealism and intuitive gesture, they both tame and submit to the wilderness itself.” -Alastair Gordon

Best known for his highly illusionistic paintings rooted in the quodlibet tradition, Alastair Gordon's work is characterized by a heightened sense of realism blended with historical notions of wildness and British wilderness painting. His work is steeped in the meta tradition — paintings about paintings, oscillating between artifact and artifice, in which landscapes become still lives and sketches stand as completed works. The result constantly calls the veracity of the object into question, even as the wild remains ever-present.

During his recent artist residency at the Wimbledon Museum, Gordon created Objects of Enchantment (2026), a solo exhibition presenting a new body of work inspired by the museum’s eclectic collection of artefacts, alongside plein-air landscapes of Wimbledon Common reimagined as objects in their own right. Also in the Wimbledon Museum, Alastair Gordon was selected to participate in the Young Masters exhibition Her Court: The Role Wimbledon Played in the Suffragette Movement (2026).

Other notable exhibitions include Tales from the North at Gallery 67, London (2024), presented by Cynthia Corbett Gallery; solo exhibitions including Quodlibet and Without Borders at Aleph Contemporary, London; and Souvenirs from the Waste Land at Ahmanson Gallery, Los Angeles. His work has also been displayed at EXPO Chicago, LA Art Show, Miami Art Fair, British Art Fair, London Art Fair, and the Royal Academy Summer Exhibition.

Gordon was the inaugural winner of the Shoosmiths Painting Prize and a co-recipient of the Dentons Art Prize. His work is held in public and private collections including those of Hogan Lovells, Beth Rudin DeWoody, Simmons & Simmons, The Ahmanson Collection, Landmark PLC, Bow Arts Trust, The Royal Bank of Scotland Collection, The Rudolph Blume Collection, The Fidelity Art Collection and the Glasgow School of Art Alumni Collection.

Alastair Gordon is represented internationally by Cynthia Corbett Gallery.

CAROLYN TRIPP
b. London

Working out of her studio at Wimbledon Arts Studios, Carolyn loves to create stories in both 2 and 3 dimensions. On first observation, her work sits within the blue and white ceramic tradition with the surface pattern and recurring curves, necks and bellies all thrown in porcelain. Up close, the jewel-like surface reveals the hidden visual diary that she collects. Overheard phrases, lyrics, flowers, patterns and memory, are recorded in photography and drawings, leading to the creation of sheets of story. Printed onto paper and then torn or cut to disguise them (so that she retains ownership and privacy of some very personal memories,) each piece is placed individually onto the surface of the vessel. This creates a new “story” each time, full of references that may connect with the viewer, so sparking imagination and memory.

Carolyn Tripp's works were recently exhibited at a collaborative exhibition between Young Masters and Wimbledon Museum, 'Her Court: the Role Wimbledon Played in the Suffragette Movement'.

JO HOLDSWORTH (short bio)

b. UK

Jo Holdsworth is a Young Masters alumna artist whose distinctive paintings explore reflected and elongated figures through a refined palette of blues, greys and muted tones. Her work combines cinematic atmospheres with loose, spontaneous brushwork, creating images that feel both serene and psychologically charged. “It’s the mixture of calm beauty and ambiguity throughout all of Jo Holdsworth’s paintings that mesmerizes the viewer,” observes art critic Tabish Khan for FAD Magazine.

Holdsworth has exhibited widely in the UK, and her notable solo exhibitions include Figures, 60 Threadneedle Street (2024); City & Coast, Neptune Wimbledon (2024); Destination London, Common Ground, Spacemade, Wimbledon village in conjunction with Ad Lib Gallery (2023); Reflective Figures, 508 Gallery (2021) and Viewing Figures, Norman Plastow Gallery (2019).

The artist has additionally showcased her work at Farrow & Ball, the Affordable Art Fair, the Wimbledon Art Fair, and Fresh Art Fair. The artist has participated in a number of group shows, including Jo Holdsworth & Tomas Castano: New Orleans from the perspective of British and Spanish Artists, Wine Art Gallery, New Orleans, USA (2026); Spring Show, Wine Art Gallery, New Orleans, USA (2026) and Beautiful Moments, Ad Lib Gallery (2023).

In 2025, she was shortlisted for the Young Masters Art Prize, For the Love of Art History, presented by Cynthia Corbett Gallery. The work that was shortlisted was from Holdsworth’s series of French paintings, exploring art history and regions in France where iconic painters have lived and worked. The paintings also explore colour palettes used by certain painters or art movements, and in some pieces the painters themselves appear as one of Holdsworth’s signature shadowy figures. In 2026, Holdsworth was selected for Her Court: The Role Wimbledon Played in the Suffragette Movement, Young Masters’ first museum collaboration with Wimbledon Museum.

Her work has featured on book and album covers, and is held in numerous public and private collections, including those of Cambridge University, the Rudoph Blume Foundation and North Star Law. In addition, Holdsworth’s work has been featured on magazine covers and in the press. Holdsworth also sits on the judging panel for Young Wimbledon Artists, encouraging art and artists of the future in Merton.

Jo Holdsworth was Highly Commended for the Young Masters Rudolph Blume Foundation Acquisition Award in 2025.

CRISTINA SCHEK
b. Transylvania, Romania

Cristina Schek is a London-based Transylvanian Surrealist working across photography, digital montage, textile and installation. Her practice begins with self-portraiture but often moves beyond the frame: she prints on textile, uses the body as support, thinks sculpturally and blurs the boundary between portrait, object and staged apparition. Drawing from literature, cinema, art history and the subconscious, Schek constructs layered visual worlds where identity is performed, fractured and reimagined. Her work turns the photographic image into something theatrical and uncanny.

Her work has been exhibited internationally at major art fairs and museums, including Elmbridge Museum and Kingston Museum. Schek has received multiple Young Masters distinctions, including First Prize in the 2025 People’s Choice Award, Highly Commended for the Rudolph Blume Foundation Acquisition Award 2025 and the 2021 Focus on the Female Award. Schek was also recently chosen to exhibit at 'Her Court: the Role Wimbledon Played in the Suffragette Movement', a collaborative exhibition between Young Masters and Wimbledon Museum.

Selected Press Quote: Following Schek’s 2026 exhibition Line of Beauty at The Exhibitionist Hotel, South Kensington, leading UK art critic, art historian, author and lecturer Estelle Lovatt FRSA wrote: “In a league of her own, Cristina Schek’s incredible visual adventures embrace life, beyond life. Piloting artistic vision between reality and imagination, I’m calling it Surreal Neo-Romantic Universalism. Questioning what’s factual by what’s make-believe, Schek bends Einstein and Newton, making her new artwork fairytales for grownups.” Estelle Lovatt FRSA

Cristina Schek has three auction records, including two with Phillips London, and won the W4th Plinth in 2023 with The Ceiling in the Sky, a monumental 4 x 4 metre public artwork installed in West London.

DEBORAH AZZOPARDI
b. 1958, UK

America has Lichtenstein, we have Azzopardi!’ - Estelle Lovatt FRSA

Deborah Azzopardi acquired her worldwide fame for the joyous Pop Art images she has created over the past 39 years. Her unique and feminine take on contemporary art is best described by the esteemed art critic Estelle Lovatt: ‘America has Lichtenstein, we have Azzopardi!’ Lovatt goes on to comment: “Sometimes you just want to curl up under a blanket. With a good book. A piece of chocolate. A man. This is what Deborah Azzopardi’s pictures make me feel like doing. They are me. They remind me of the time I had a red convertible sports car. I had two, actually. And yes, they are you, too. You immediately, automatically, engage with the narrative of Azzopardi’s conversational visual humour. Laughter is the best aphrodisiac, as you know. ... There’s plenty of art historical references from... Manet’s suggestive ‘Olympia’; Boucher’s thought-provoking... ‘Louise O’Murphy’ and Fragonard’s frivolous, knickerless, ‘The Swing’.... Unique in approach, you easily recognise an Azzopardi picture. ... Working simple graphics and toned shading (for depth), the Pop Art line that Azzopardi sketches is different to Lichtenstein’s. Hers is more curvaceous. Feminine.”

The world is familiar with Azzopardi’s artworks, as many of them have been published internationally. Her original paintings, such as the Habitat ‘Dating’ series (2004/08), the iconic ...One Lump Or Two? (2014) and Love Is The Answer(2016), created by the artist at the request of Mitch and Janis Winehouse as a tribute to their daughter, are in great demand.

Deborah Azzopardi was awarded the Young Masters Focus On The Female Art Created During Lockdown Award 2021 for her work ‘Unabashed’.

Deborah Azzopardi has been represented internationally by Cynthia Corbett Gallery since 2010.

ELAINE WOO MACGREGOR

b. 1981, UK.

"I am an expressive cross-cultural painter trained in the Glasgow School of Art 1999 - 2003. Rhythmic calligraphic brushstrokes, exacting moments of drawing, suggestive mark-making that bridges between figuration and abstraction, eclectic colour palette and painterly techniques of surface play all features strongly in my work. My painted stories and memories are of people based on my personal experiences and experiences of others found in books, films, fashion and photography. Painting for me is a voyage of discovery and a sensation felt. I want my viewers to peer through layers of paint, dapples of colour and a smudge of a mark to enter an alternative reality." – Elaine Woo MacGregor

MacGregor’s artistry offers a unique perspective, encompassing a fusion of cultures. Through her eclectic use of mark making and imagery, she weaves together atmospheric and theatrical narratives. While her painted stories may often be fictitious, they are rooted in real people, places, and objects.

Elaine Woo MacGregor is a Scottish-born Chinese artist trained in the Glasgow School of Art. She graduated with a bachelor’s degree with honours, acquired a studio and began working as a full-time artist.

MacGregor’s first solo exhibition was 'Portraits' in Glasgow. Recent exhibitions include her solo exhibition ‘Maman et Muses’, Patriothall Gallery, Edinburgh (2023), ‘Art on a Postcard’, Fitzrovia Gallery, London (2023 & 2024), LA Art Show, USA (2024), Women in Art Fair, Mall Galleries, London (2023), ING Discerning Eye, Mall Galleries, London (2023), Art Miami, USA (2023), Expo Chicago, USA (2023) Young Masters Autumn Exhibition, London (2022) and The British Art Fair, Saatchi Gallery, London (2022 & 2023). Notably, MacGregor was selected for Platform 2023 at the London Art Fair in 'Reframing the Muse', an exhibition curated by Ruth Millington, showing with The Cynthia Corbett Gallery.

MacGregor's work has been critically recognised by virtue of the Dewar Arts Award, James Torrance Memorial Award, Hope Scott Trust Award and the Cross Trust Fund. In 2022, she was a finalist in the Jackson's Painting Prize, received the Art Paisley Prize for outstanding work, and Velvet Easel Award. In 2023, she was awarded the RSA Blackadder Houston Mid-Career Travel Award. She also travelled to Hong Kong and Shanghai for art research in 2024.

Artist Residencies include Visiting Artist and Lecturer in Guizhou Art Academy, China in 2008, and Artist in Residence with Partial Fellowship Award in Vermont Studio Center, Johnson, USA in 2009.

Woo MacGregor’s work is in British and international museum collections including Atkinson Art Gallery and Museum, UK, Art Gallery of South Australia, and 21C Museum and Hotel, USA and Didrichsen Art Museum, Finland.

ANDY BURGESS
b. 1969, London, UK

Lauded by Annabel Sampson, Deputy Editor of Tatler as “the next David Hockney” painter Andy Burgess, who hails from London but lives in Arizona, continues to expand upon his fascination with contemporary architecture. Burgess selects the subjects for his paintings with the discernment of the portrait painter. Buildings are chosen for their clean lines, bold geometric design, and dynamic forms. Burgess approaches his subjects with a fresh eye, simplifying and abstracting forms even further and inventing, somewhat irreverently, new colour schemes that expand the modernist lexicon beyond the minimalist white palette and rigid use of primary colours. Real places are sometimes re-invented, the architecture and design altered and modified, with new furniture and landscaping and a theatrical lighting that invests the painted scene with a dream-like quality and a peaceful and seductive allure.

Burgess explores in depth the genesis of modern architecture in Europe and the US and its relationship to modern art, avant-garde design, and abstract painting. Burgess explains his fascination with modernist architecture thusly:

‘Despite the huge impact of early modern architecture, the innovative and subtle minimalist buildings that I am researching, with their concrete and steel frames, flat roofs, and glass walls, never became the dominant mode of twentieth century building. We have continued to build the vast majority of houses in a traditional and conservative idiom, so that these great examples of modern architecture, designed by the likes of Gropius, Loos and Breuer to name but a few, are still shocking and surprising today in their boldness and modernity, almost a hundred years after they were built.’

Andy Burgess’s work combines two of his greatest artistic passions, mid-century and modernist architecture, and collage. In his series of highly intricate pieces, Burgess has used hand painted paper to construct renditions of his favourite modern architecture. Replacing acrylic paint with gorgeous permanent inks he has introduced another level of textural interest. The ink adds a beautiful translucency and wash-like textures to the surface of the image…. making the finished work somewhat tapestry and mosaic like. The pleasure of these works lies in the complex shapes, the analogue quality of the fabrication and the sparkling crystalline colors. Those familiar with his work will recognize some of the iconic subject matter such as Frank Lloyd Wright’s wonderful Guggenheim Museum and famous Fallingwater residence as well as Los Angeles classics such as The Stahl House and other desert modern masterpieces. But there is an eclectic range of architectural subjects that spans decades and continents in a quest to do justice to the architecture of modern times!

Alongside the large-scale paintings, Burgess creates collages which reflect his love of vintage graphics, particularly those from the 1930s–50s, a “golden age” in American graphic design and advertising. Burgess has been collecting vintage American ephemera for many years; this ephemera is then unapologetically deconstructed, cut up into tiny pieces and reconstructed into visual and verbal poems, dazzling multi-coloured pop art pieces, and constructed cityscapes.

Burgess has completed many important commissions for public and private institutions including Crossrail (London’s largest ever engineering project), Cunard, APL shipping, Mandarin Oriental Hotels, a new medical centre in San Jose, California and most recently, Neonatal Intensive Care Unit (NICU) at Chelsea and Westminster Hospital in London.

In 2021 Andy Burgess started creating a series of site-specific artworks for the Neonatal Intensive Care Unit (NICU) at Chelsea and Westminster Hospital in London. The project, initiated by CW+ – the official charity of the Chelsea and Westminster Hospital NHS Foundation Trust – and facilitated by Cynthia Corbett Gallery, which represents Burgess internationally, aims to improve and enhance the NICU environment for patients, relatives and staff.

Working together with the NICU team, Burgess was reminiscing on the hospital’s neighbourhoods and its iconic views, sights and buildings in collaboration with hospital staff. Known for his unique, abstract and colourful style, Andy has transformed selected London scenes into incredible artworks to create a warm and welcoming environment for both parents and staff to enjoy. The display, installed on the 16th June 2022, includes a panorama of London, an image of Albert Bridge and another of a London Underground station. Additionally, Andy produced two smaller scale abstract pieces developed from the colour palettes of his larger works, which were gifted as part of the commission. CW+ also acquired two existing works by Andy for the unit through Cynthia Corbett Gallery.

In March 2023, Burgess published of a new limited edition book of abstract ink on paper collages called Tiger’s Eye in conjunction with an exhibition at Laughlin Mercantile in Tucson, Arizona and the release of four luxurious silk scarf designs based on the collages.

Andy Burgess’s collectors include the Booker prize-winning author Kazuo Ishiguro, actor and writer Emma Thompson, the Tisch family in New York, Beth De Woody, Board Member of The Whitney Museum and Richard and Ellen Sandor in Chicago, who have one of the top 100 art collections in America.

MARGO SELBY
b. 1977, Eastbourne, UK

Selby is an artist and designer working with colour and geometric form in textiles. She makes handwoven artworks, and oversees the design work of the Margo Selby Studio for mill production and commercial textiles applications – her tenet being ‘Art Into Industry’ – an approach to making art that is akin to that of the ‘Old Masters’ and mistresses, with their expanded studios and public commissions.

Selby uses thread to create abstract geometric artworks that explore repetition and transition, symmetry and asymmetry, the dynamic and the stable. She is interested in the relationship between the body and the machine, hand and industry, craft and technology. The loom, and the disciplined nature of weaving as a practice, provides boundaries and constraints which can be tested. The orderly nature of the craft of weaving is reflected in the developing designs of the artworks. She is satisfied by rhythmic and uniform repetition – where each element of a composition is changed in a methodical progression.

With the exhibition of Cynthia Corbett Gallery and in cerebration of Collect's 20th Anniversary presented Moon Landing —a groundbreaking collaboration between Margo Selby and Helen Caddick debuting at Collect 2024. This project marks Margo Selby’s first site-specific installation, featuring an immersive, suspended handwoven textile alongside an original string composition by Helen Caddick. Set within the Stamp Stairwell at Somerset House, the approximately 16-meter handwoven piece invites visitors to ascend and descend the spiraling stairs, experiencing the evolving abstract colors that mirror the dynamic journey of the music. Margo and Helen's site-specific installation at Somerset House is a stunning fusion of weaving and music, meticulously designed to respond to the architecture of the Stamp Stair. The 16-meter handwoven textile cascades down the spiral staircase, drawing visitors into its intricate play of color, texture, and rhythm. As one ascends or descends, the shifting abstract blocks of color mirror the fluid journey of the music. Inspired by the connection between weaving, mathematics, and music, the collaboration delves into the shared numerical patterns across these art forms. The installation also pays tribute to the women who wove the circuits for the Apollo 11 Moon Landing, with fragments of Navajo and Huguenot weaving traditions woven into both the textile and the score. Complementing the experience, a process-led film and a recording of the music will be available, with live performances at key preview events, offering an immersive exploration of the parallels between sound and fabric.

Margo Selby studied at Chelsea College of Art & Design and the Royal College of Art in London, with a term at Atelier National d’Art in Paris. She now teaches in various institutions, and has her own studio weaving workshops. In 2020, Margo was the recipient of the Craft Council’s Collect Open Award for her large scale textiles installation Vexillum at Somerset House, and, in 2021, the bi-annual Turner Medal for ‘Britain’s Greatest Colorist’. She also gave the Turner Lecture, reflecting on her practice. 2022 saw her showing at multiple applied arts and craft fairs including Collect, London Craft Week, London Art Fair. In 2023, Selby exhibited at Art Miami, British Art Fair and Collect.

In 2024, Selby received several notable commissions. She was co-commissioned by The National Festival of Making and the British Textile Biennial to create a vibrant, celebratory textile installation, immersive in colour, form, and sound - designed to evoke joy and uplift. Situated in the North Transept of Blackburn Cathedral, this site-responsive sculpture reflected the flow of fabric through a factory, with waves and folds mirroring the movement of cloth through machinery. The suspended form began on the cathedral floor, rising to tower 9 metres into the vaulted ceiling, before gracefully descending back down.

As part of the London Design Festival 2024, Margo Selby's striking textile creations were included in the 'Living in a Material World' Exhibition at the Lyon & Turnbull London Gallery. In 2025 Moon Landing toured to Canterburry Cathedral and Margo was also commissioned by Blackburn Cathedral to create a set of 12 handwovern vestments as part of their "Fabric of Faith" project to mark their centenary. Margo will debut her Shuttle Series at Frieze Expo Chicago in April 2026.

Margo Selby is represented internationally by Cynthia Corbett Gallery.

JEMMA GOWLAND

b. 1965, UK

Jemma Gowland’s work explores the way that girls are constrained from birth to conform to an appearance and code of behavior, to present a perfect face, and maintain the expectations of others. The use of porcelain, or of stoneware with layered disrupted surfaces, denote value yet describe the vulnerability beneath. Her most recent work draws on the traditional history of the figurine, from Meissen to the present; echoing the white unglazed finish with gold lustre. Current themes build on this tradition, with its symbolism of the female figure as ornament and object, to highlight issues of growing up female in the modern world.

Jemma Gowland trained for a BSc in Engineering Product Design, working in industrial design and architectural model making before becoming a teacher of Design and Technology, a career she followed for many years. Ceramics became first a hobby, and then a full-time occupation after leaving teaching in 2014. Her deepening interest in the immense possibilities of ceramics as a material led to further study, culminating in the City Lit Ceramics Diploma, London, graduating in 2019. Awards and exhibitions include: Royal Academy Summer Exhibition (2023), Royal Cambrian Academy of Art Open Exhibition (2023), Collect Open (2022), Bevere Graduate Award (2019-20), and Potclays student award, Art in Clay (2019). In 2024, Jemma’s work was featured in the Newstead Project, celebrating the Byron bicentenary at his home, Newstead Abbey in Nottinghamshire. That same year, she made her debut at Collect with the Cynthia Corbett Gallery and is set to showcase her work at the prestigious British Art Fair, marking another major milestone in her artistic career.

Jemma Gowland was Highly Commended for the Young Masters Emerging Woman Artist Award in 2023.


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