My work explores the relationships between animals and humans as they increasingly expand into each other’s territory. With this idea as a point of departure, I use a range of techniques including taxidermy and photography to explore these ideas within my work. Witnessing first hand the effects of development and human intervention on the wildlife around us continues to resonate with me as a practitioner, and I am passionate about animal welfare.


Here I present part of the 'Welcome to Our World' series. These images are designed to offer an insight into (what I perceive as) humanity's disregard for wildlife. I hope that my work may be a proponent for change.

Bye Bye Birdy 2, 2020
Bye Bye Foxy, 2020
Bye Bye Birdy 3, 2020

Debbie Taylor-Osborne’s work is very much an exploration of texture and process, with each piece taking on a life of its own amongst the marks and sculptural fluidity of the materials. These materials can be a diverse mix of wood fillers, plastic tablecloths and ordinary household paint, with the abstraction of the work mirroring the way she sees and interacts with life and her environment. In fact, the environment is never far from her thoughts when choosing how to create work. Much of her current practice takes inspiration from the natural world, whether it be from the ground beneath our feet or the swirling eddies of a river or ocean. Her recent works Mariana Trench and Earthworks are good examples of this.

Influenced in part by Korean Dansaekhwa art, Taylor-Osborne has also used her own Buddhist practice to inform her methodology, with her mark-making taking on the physical form of a repetitive chant, centering her and creating an oasis of calm amongst the apparent chaos of some of her current work.

Even in her non-textural pieces, the artist manages to convey a physicality and movement which belies its lack of obvious tactility. As a Buddhist, Taylor-Osborne believes that we are connected to the earth and the occasionally chaotic mixing of often muted colours are a metaphor for the human disconnect with the natural world and the search to find our own place in it.

Maelstrom, 2020, Mixed media 29cm x 42cm

Map of the World, 2020, Mixed media 65cm x 65cm

Mariana Trench, 2020, Mixed media 65cm x 65cm

Orchid, 2020, Mixed media 32cm x 42cm

Leanne Jones-Starr’s works capture images that have a connection to memories, the self, the uncanny and intuition. Leanne’s preferred method is to use the camera as her tool; fundamentally since its existence the camera has been used to preserve, capture, and aid our memories. Leanne through her use of fine art photography, manages to capture light and shadow - enhancing the mood and emotion displayed in the artwork.


The artist likes to explore what memories mean to the individual and is interested in the psychology of how we remember and collate those memories and how these relate to the self, asking the question: do our memories make us who we are? This research project, with a core focus on memory, led the artist to explore the idea of the uncanny, considering the variety and difference in individual responses to unnatural situations.


This area of human experience - a key focus of Freud’s oeuvre – suggests that without our memories the uncanny would not exist. Inspired by this idea, Leanne explores ideas of singular and collective memory, and the familiarity of the unfamiliar that creates an unnerving sensation, similar to that of déjà vu. Leanne utilises personal objects and local surroundings to exploit a perceived awkwardness in familiar settings. With a focus on light and shadows, her work invites us to question what it is we are viewing and to further consider the associations we build.

The double fern  (symmetrical) 08:16:19

Single fern 11:24:22

Double rose (symmetrical) 08:18:56

Dandelion 14:24:47

Matthew Starr is an artist currently residing in Hastings East Sussex, working within the medium of oil paint on canvas or board. Central to Matthew’s practice is a fascination with capturing the everyday with a focus on moments of beauty in an otherwise mundane world.  Matthew attempts to elevate a simple task such as a walk to work, or a quiet moment for pause in a routine life, and shows an inner beauty which we may, as viewers of our own lives, miss.


The works ask the viewer to do the same to take a moment for pause, to look up from a screen and to see what is around you that is taken for granted and rarely given a moments’ consideration. Immersed in a digital world overloaded with images, Matthew is attempting to create work that asks the viewer to ‘stop scrolling’; to take a moment for pause, and to spend time looking rather than just walking on past. To take a moment for pause in a routine life is here reconsidered as an act of reclamation, a small rebellion against a sense of status quo.

Barstool, 2019. Oils on Canvas.

Birthday Meal, 2020. Oils on Canvas. 

'which side are you on', 2020. Oils on Canvas.

Rouhul Uddin


As a visual artist, my fascination is to capture the experience and essence of real life in my Artwork. I have been looking at sprit of connection and intersubjective relationship in art. in philosophy, psychology, sociology, and anthropology, is the psychological relationship between people. It is usually used in contrast to solipsistic individual experience, emphasizing our inherently social being. But every artist needs time in front of the model.


My interest in people-watching has drawn my attention to figurative art. This has led to me becoming a visual artist working with figurative drawing and painting. My preferred medium is charcoal however I also work with oil paint and I screen print. I am currently working on short poses to emphasise energy and a connection between myself and the sitter. I begin by making sketches of poses of friends, family, and the people in my present life, aiming to capture the essence of character body language and gesture. My current work involves the philosophical study of nature, of ontology, being, becoming. Existence, or reality. Which deals with the questions about what things exist or can be said to exist. Everyone lives in their own little world and I as an Artist try to capture that moment of their world and how they exist in my mine.

Ihsaan Uddin, 2020, Charcoal and pencil drawing on Fabriano.

Baby, March 2020, Charcoal and pencil drawing on Fabriano.

Ayaan during Lockdown, May 2020, Charcoal and pencil drawing on Fabiano.

R A Uddin May 2020, Charcoal and pencil drawing Fabiano.

Sally Maton Hemming (b. 1954 London UK) is an artist specialising in painting, drawing and photography. Her work is evocative and often dreamlike; exploring themes of mythology, fertility, self-representation, relationships and personal experience, both lived and imagined. Her recent work responds to, and reinterprets the narratives within poems, novels and classic films such as the work of John Keats, Daphne du Maurier and Alfred Hitchcock. Her preferred medium is watercolour, pastel and pen & ink, where she enjoys the endless subtleties she can achieve, with the quality of the paint retaining an immediacy in both image-making and its application. This nuanced approach to making, which produces images of fleeting glimpses and moments preserved, characterises a highly imaginative and experimental practice,


Her current project Isabella Fin, 2020 was inspired by Giovanni Boccaccio’s The Decameron and Keats’ poem Isabella; OR the Pot of Basil, and was created entirely in isolation during ‘lockdown.’

It aches in loneliness…, 2020, Mixed media. 43cms x 38cms

Lorenzo’s Realisation, 2020, Watercolour and pen and ink. 33cms x 20cms

Isabella’s Realisation, 2020, Watercolour and ink, 13cms x 14cms

And many a jealous conference had they, And many times they bit their lips alone, 2020, Watercolour. 33cms x 23cms

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