Summer Exhibition 2021

21 May - 19 July 2021
  • We are thrilled to be launching our Summer Residency at The Exhibitionist Hotel in South Kensington in partnership with Kensington + Chelsea Art Week and Festival. To match the tone of this eclectic and vibrant hotel, we are presenting a varied and interesting mix of artists from our established gallery programme, alongside younger artists from the Young Masters platform.

  • Elise Ansel

    Elise Ansel

    Elise Ansel translates Old Master paintings into a contemporary pictorial language. She mines art historical imagery for color and narrative structure. Her paintings use the Old Masters as points of departure. They move into abstraction by transforming the representational content, which is obfuscated, if not entirely obscured, by her focus on color, gesture and the materiality of the paint. Ansel’s work strikes a balance between conscientious precision and irrational improvisation.


    She begins with a series of small spontaneous oil studies. Using renaissance methods and a grid, she transcribes these into large scale paintings. The large paintings embrace the choreography of the small works with an increased emphasis on color and gesture. Spontaneity, instinct and intuition eclipse rational, linear thinking during the process of making the small works. The large paintings, however, are more considered. Her work fuses accident and design, intuition and intellect, abandon and constraint. The real subject becomes the substance and surface of oil paint, the range of its applications, the ways it can be used to celebrate life.

  • Andy Burgess

    Andy Burgess

    Andy Burgess is known for his renditions of modernist and mid-century architecture, panoramic cityscape paintings, and elaborate mosaic-like collages made from vintage papers and ephemera collected over many years. Burgess continually expands his artistic vocabulary by mastering various media, more recently immersing himself in photography and printmaking. In 2016, he was invited to Tandem Press, Madison, Wisconsin to collaborate with master printmakers to produce a series of images in limited editions in various media.

    • Andy Burgess, Curve Pool, 2020
      Andy Burgess, Curve Pool, 2020
    • Andy Burgess, Quiet Space, 2020
      Andy Burgess, Quiet Space, 2020
    • Andy Burgess, Cinematique, 2020
      Andy Burgess, Cinematique, 2020
  • Andy Burgess, Red Corvette, 2020

    Andy Burgess

    Red Corvette, 2020
    Gouache on watercolor paper
    10.16 x 12.7 cm
    4 x 5 in


    Fabiano Parisi began his career as a photographer following a degree in Psychology, coming to photography through a project photographing derelict asylums, which sparked his interest in the abandoned buildings which are the subject of his art practice today. He has two ongoing series: The Empire of Light and Il Mondo Che Non Vedo (The World I Do Not See). The latter title is taken from a collection of poems by Fernando Pessoa, a hint at the poetic qualities of Parisi’s work. What is so striking about Parisi’s work is his use of light, his relationship not just to history but to the theme of the ruin in Art History, and the composition and surface of his work. The power of Parisi’s work lies in the strength and command of his image-making, never straying from a strictly symmetrical approach, which allows the viewer to assume his viewpoint within the building, the wide-angle lens giving a sense of depth and breadth, without compromising on detail.


    • Fabiano Parisi, Il Mondo Che Non Vedo 207, 2017
      Fabiano Parisi, Il Mondo Che Non Vedo 207, 2017
    • Fabiano Parisi, Il Mondo Che Non Vedo, No 37 - Germany, 2011
      Fabiano Parisi, Il Mondo Che Non Vedo, No 37 - Germany, 2011
  • Parisi uses only natural light, shooting early in the morning. The colours and chiaroscuro are at their best at this time of day, and are left untouched by digital image manipulation software. Parisi’s photographs have an honesty and integrity that is part of what makes them so inviting. The artist often selects buildings with frescoed walls, which create an illusion of a painterly surface in his photographs and a textural sensibility that belies the photograph’s flat surface. His method highlights the patina of these forgotten places. The artist prints his work himself onto carefully chosen papers that enhance and maximise his colours and tones. Parisi has a strong relationship to Art History; the subject of the ruin was prevalent in the 18th and 19th Centuries, and interest is still strong today as evidenced by Tate Britain’s 2014 exhibition ‘Ruin Lust’. From painters such as Piranesi to Turner to Constable, Parisi is part of an important genre in art.



    Tuëma Pattie (b. 1938) was born in Dublin and studied at the Belfast College of Art, the Central School of Art and Design and Morley College, London, Piers Ottey and Christopher Baker in Sussex and Robin Child in Devon.

    In her days in Belfast and London, she took advantage of urban scenes as her subject matter. She then had a long period in which she took time out to have two children and to support her husband in his career. This meant it was difficult to find the time for her beloved painting, as was the case for many women in that era.

    • Tuëma Pattie, The Broad Walk and Theatre at Glyndebourne, 2015
      Tuëma Pattie, The Broad Walk and Theatre at Glyndebourne, 2015
    • Tuëma Pattie, Apples and a Lemon on a Chair, 2013
      Tuëma Pattie, Apples and a Lemon on a Chair, 2013
  • Tuëma Pattie has exhibited at the Royal Academy Summer Exhibition; the Royal Hibernian Summer Exhibition; the Cork Street Gallery; Art for Youth at the Mall Gallery London; London Art Fair; the Chichester Open; the Moncrief Bray Gallery, the Kevis House Gallery and the Rowntree Tryon Gallery all in Petworth; APPART; the East Hampshire Art Fair; the Jorgensen Gallery in Dublin and at Glyndebourne.



    In a contemporary art world that condemns beauty as camouflage for conceptual shallowness, championing high aesthetics is nothing short of rebellion. Dutch photographerIsabelle Van Zeijl takes female beauty ideals from the past, and sabotages them in the context of today. Van Zeijl aestheticises contemporary beauty in her work to visually discuss art historical links and a new way of seeing female beauty. Her work is both timeless, universal and uniquely placed in the art historical canon while offering the female gaze.


    Van Zeijl is invested in her images. By using subjects that intrigue and evoke emotion, she reinvents herself over and over and has created a body of work to illustrate these autobiographical narratives. Her work takes from all she experiences in life - she is both model, creator, object and subject. Going beyond the realm of individual expression, so common in the genre of self-portraiture, she strives to be both universal and timeless, with a subtle political hint.


    Isabelle Van Zeijl has shown work continuously and internationally over the past fifteen years, represented by galleries located in The UK, USA, The Netherlands, Belgium, and exhibiting at emerging and established international art fairs in New York, Miami, Los Angeles, Hong Kong, London, Germany, Belgium, Sweden and Italy. She was nominated for the Prix De La Photographie Paris, and The Fine Art Photography Awards. She was also one of the winners of The Young Masters Emerging Women Art Prize, London. Her work is held in private & public collections in the USA, UK, Belgium, Germany, France and The Netherlands.




    Highly acclaimed French painter Anne Françoise Couloumy, Chevalier de l'Ordre des Arts et des Lettres, has been named 'La Hopper Française' by the French press. 

    A student of Ecole Nationale Supérieure des Arts Décoratifs, she has exhibited in France since 1994 with great success. Mentored by XX century French painter Boris Taslitzky, whose paintings are in the Tate Gallery's collection, she has a unique pedigree. In contrast to Kamps – French by nationality and Northern European in her use and sense of light – Couloumy paints as if she spent her life on the foggy banks of Amsterdam' canals. The intimacy and the serene silence of Couloumy's quiet paintings are reminiscent of Hammershøi and Vermeer. Nonetheless, Couloumy doesn't fit in any particular school of painting and her work is timeless, classical and contemporary. There is an air of mystery that surrounds her work, which suits the artist as she has little time for explanation and analysis. A Couloumy painting is much more than just a painting, it is a reflection of life.

    • Anne-Françoise Couloumy, Les Parquets Rue Daru 3, 2014
      Anne-Françoise Couloumy, Les Parquets Rue Daru 3, 2014
    • Anne-Françoise Couloumy, L'entrée rue Renan 2, 2017
      Anne-Françoise Couloumy, L'entrée rue Renan 2, 2017
    • Anne-Françoise Couloumy, Vers la Cour, 2017
      Anne-Françoise Couloumy, Vers la Cour, 2017


    ‘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 35 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. This year we are pleased to bring to Expo CHGO Azzopardi's new special commission for Conservation International, Mother Nature (2020).

    • Deborah Azzopardi, Monday Morning, 2007
      Deborah Azzopardi, Monday Morning, 2007
    • Deborah Azzopardi, Bing Bong, 2007
      Deborah Azzopardi, Bing Bong, 2007
    • Deborah Azzopardi, Bbrrrinnnggg, 2007
      Deborah Azzopardi, Bbrrrinnnggg, 2007
    • Deborah Azzopardi, I Just Called To Say..., 2020
      Deborah Azzopardi, I Just Called To Say..., 2020


    Art Couture is a series of illuminated sculptures by French artist Nicolas Saint Grégoire. This series pays tribute to Yves Saint Laurent who has been a major influence on Saint Grégoire's practice.


    Each illuminated sculpture comprises Plexiglass and neon, and is inspired by dresses created by Saint-Laurent as part of his 1960’s haute couture Pop Collection which Saint-Laurent created in homage to such artists as Mondrian, Wesselmann, Braque, Picasso and Warhol.


  • Driven by the common quest for harmony of line and colour, Nicolas Saint Grégoire, mentored by the late Pierre Bergé, President of the Pierre Bergé – Yves Saint Laurent Foundation, started his research in 2008/09 and was given exclusive access to the Yves Saint Laurent archives. The resultant work entitled Mondrian Dress 1, 2008 was inspired by the 1965 Day Dress created by Saint-Laurent in homage to artist Piet Mondrian.


    Mondrian Dress 1, 2008 was presented by The Cynthia Corbett Gallery in Paris, London, Miami, New York, Chicago, Basel and Milan. The success of this work was confirmed by Mondrian Dress 2, 2009 inspired by the same collection, which was reproduced by key French magazines and newspapers such as Le Monde, Beaux Arts and Belles Demeures. The foreign press has equally echoed the Mondrian Dress 2: it was published in Country Life, Easy Jet Magazine, Lawfully Chic - Mishcon de Reya’s Cultural Blog, and featured on Net-a-Porter.


    Nicolas Saint Grégoire developed this concept further and created a series of light sculptures exclusively inspired by Yves Saint Laurent dresses, which in turn were inspired by famous artworks. In order to represent the dresses faithfully, Saint Grégoire designed his works sketching directly from the original pieces in the archive, using the same sketching tradition Yves Saint Laurent did many decades before.



    Ru Knox is an English artist who had an extensive classical training at one of the most prestigious ateliers in the world. He has spent years as a professional classical portraitist, fulfilling private commissions and exhibiting both in the UK and abroad and he has had much success in international competitions. He is currently exhibiting in London galleries whilst working towards an MA in Fine Art at City and Guilds. Ru combines rigorous formal structure with his own original ideas, displaying his unique and personal style. His abstract works have developed from pure traditional representation to a more contemporary approach but retain references to his extensive classical training at one of the most prestigious ateliers in the world. Ru’s raw imagery renders a deeply sculptural yet intangible quality especially when his work is viewed in ‘real-life’. These processes achieve both a synergy and a tension between fine intricate draughtsmanship and sheer abstraction, forming a dynamic and lifting conversation between creator and spectator. His large paintings hang poised between a spatial world of depth and form populated with suggested characters that hint at untold narratives that have an immediate confrontation with the raw materiality of painting. The paint has been blended and scrubbed in some areas, left to trickle and bleed in others, built up and scraped back again laboriously, in forceful pursuit of the final effect.

    • Ru Knox, Untitled, 2021
      Ru Knox, Untitled, 2021
    • Ru Knox, Untitled, 2021
      Ru Knox, Untitled, 2021
  • The artist explains his inspiration: "These paintings are immersive environments, designed to encourage an optimal creative experience. The ambiguous shapes and forms, which are expressed with vibrant colours and painterly techniques, invite the viewer to create a subjective narrative, based upon their own collection of thoughts and memories. The overall effect is a sense of harmony and dissonance, cadence and rhythm, focus and disorientation. Acquiring these visual cues the viewer's role moves from the acquiescent and into the realm of creation as they are invited to stimulate their own rapturous sensation".

  • The residency starting on 18th May will continue throughout the Summer with regular private views, special curator-guided tours and events. 


    Please RSVP here.


    For all sales enquiries please contact Gallery Founder & Director Cynthia Corbett at


    Photo Credit Cristina Schek