Stik started painting unofficial, socially conscious murals in his hometown of Hackney, East London in 2001. His simple stick figures wordlessly tell the story of his community and he frequently collaborates with hospitals, charities and homeless organisations. Working from his East London studio, these projects are largely self-funded and he now creates monumental artworks with communities across the world.
Bio: Sarah has worked in the creative industries for 14+ years as a freelance graphic designer, and has now expanded into the area of arts facilitation.
Sarah’s involvement with collective arts creation was stirred most recently while creating a mural at local mental health charity MindFood, and she went on to be a co-founder of Welcome Create, a community art group at Pitzhanger Manor & Gallery.
She enjoys working with all ages, and values listening to the needs and desires of those involved to co-produce ideas, creating a sense of learning via exploration and peer-to-peer interactions, connection and increased self-confidence.
Nudes and nature are my most prominent source of inspiration and subject. I believe that depicting people in their most natural form expresses a sense of honesty and vulnerability. Furthermore, clothes would date the image and constrict the artwork to a precise moment in time. I try to make the era and location somewhat ambiguous and unrecognizable, because I like to create images that are both comforting with their familiarity, but also raise curiosity and questions open to each personal interpretation.
In an aim to rekindle a somewhat lost relationship with something that is fundamental to our survival and well-being, my work focuses on the human relationship with nature. Female forms are reoccurring in my practice as they too have the ability to create and bring new life to the world. For this reason, they play the role of a metaphor for mother nature herself. Furthermore, I often include animals that I have had personal experiences with and enjoy researching their symbolic meaning
I begin by roughly sketching out my idea, and then do a cyanotype print; a photosensitive chemical process which needs to be exposed in the sun. The outcome varies dramatically depending on weather conditions and time of year. I then paint over the print with acrylic paint. The cyanotype stains the canvas, whereas the acrylic sits on the surface, creating a real contrast in textures. Furthermore, it combines a natural phenomenon with a man made medium. I also enjoy playing with scale by having recognisable plants larger than the figures, as it emphasizes how we are a small part of the world and not the center, nor the most significant...
My practice is about boundaries. I believe The rise of the idea of “posthuman” had, in many ways, shaken the fundamentals of dualism. To think that there is an absolute binary relationship between human and machines, nature and culture, object and image, identity, gender ... etc, is simply missing a lot regarding the quintessence of being. And I believe this “missing” is where contemporary art needto engage. Thus I like to work around blurring and challenging these boundaries.I work with image, live art and various forms of media.
I am currently working withbiometric data and computer language, and how the entanglement of the two creating a condition where I am in between physical and non - physical existence, me becoming together with the machine.
I’m a multidisciplinary artist driven by a deep need to express, heal, and tell stories that often go unheard. My journey began in architecture and design, but over time, I realised that my true voice lived in the space where art meets emotion—where personal and collective histories collide.
My work is rooted in identity, faith, and memory. I create to reflect on who we are, where we come from, and what we carry—whether joy, pain, tradition, or resilience. One of my most personal pieces, The Blood-Stained Child, was born from a place of sorrow and confrontation. It's a raw and unfiltered response to the violence I’ve witnessed in my community—an image of innocence caught in chaos. It hurt to make, but it had to be made. That piece helped me grieve, helped me pray, and reminded me why I create in the first place: to process pain, to provoke thought, and to call for peace.
Much of my work, including More Love, Less War, seeks to bridge divides—ethnic, religious, generational. I draw from my Nigerian heritage, using symbols, colors, and textures that hold weight and meaning, but I also reinterpret them through a modern lens. I want my art to feel both ancestral and alive—tied to the past but speaking clearly to today.
Whether I’m working with digital media, string, textiles, or paint, I approach every project with the same intention: to stir something real. I believe art has the power to build empathy, to challenge injustice, and to heal. For me, this isn’t just about aesthetics—it’s about presence, purpose, and pushing through silence with something that speaks.
Being both an artist and art psychotherapist, I am interested in the healing capacity of art as well as its role in conveying meaning and communication with both the internal and external words. I draw inspiration for my paintings from my unconscious as it manifests in dreams and visions. I am inspired by esoteric sciences such as Kabbalah and quantum mechanics. My treatment of photography evokes that of painting and is highly experimental in nature. The shots are created with the use of self-made optical devices, which allow me to beguile the camera into shooting abstract images. In more than one way these instruments replace paint tubes and brushes.
My name is Halimah Sadia Zakiuddin. I love art and I have been painting for several years. I mainly paint scenes from nature, landscapes and abstract art. I also enjoy pottery, mosaics, sculpture, jewellery making and glass art. I'm also a writer and a poet and I like to write poems to go with my art. I've exhibition at the Betart fair for 3 years running and I also exhibit at W3 gallery.
As a mixed media Artist the process of mono printing, painting and photo manipulation sustains Anum Hashmi’s studio practice. Mimicking the world she documents, on it’s ever changing journey as buildings, nature and people and their communities evolve and re-purpose. Collections of photographs, sketches and maps, take life in a diverse series of mixed media pieces, engaging in a meditative cycle of layering manipulating , rephotographing and then transforming into a digital mixed medium onto fabrics or unconventional materials. They’re layered to merge within its own time capsule in an attempt to capture nature, time, and changing spaces.
In the pursuit to beautify the mundane facades of everyday life, she addresses socio economical issues that displaces people along with their communities. As a british Pakistani, her fascination lies with the idea of preserving cultural traditions and practices from heritage ,migration and faith narratives, in particular the Indian sub continent from the eye of a second generation immigrant. Anum seeks to evoke and promote a sense of unity and ethnic enrichment when people of different faith and cultures interact and intertwine based on their social positions in society, whilst still giving a voice to the under represented and relay their stories.
Serious hobbist in watercolour and visual arts while being a full-time landscape architect. My works are inspired by nature and cultural landscapes.
Elizabeth Groth is a Texan artist & educator in North Acton, London.