sculpture

My work is rooted in curiosity about the hidden spaces between people—places where thoughts, emotions, memories, and cultural histories overlap without being spoken aloud. I am particularly interested in what I call “psychological and social borders”: the invisible boundaries that shape how we understand ourselves, relate to others, and move through the world. Through abstract forms, fluid lines, and layered colour, my paintings explore how these borders are formed, how they shift over time, and how dialogue can help us cross them.

Rather than working from a fixed idea, I begin each piece intuitively. My process often starts with a feeling, a colour, or a gesture made before I’ve fully articulated what it means. I paint in layers, letting forms emerge organically and then pausing to observe what’s developing. These pauses are intentional moments of reflection—almost like stepping back from a conversation to notice what has been said and what is still waiting to surface. From there, I continue building the work, responding to shapes and movements on the canvas as if they themselves are speaking. This gives each piece a sense of motion, as though it is still unfolding rather than fully resolved.

My process begins long before a concept takes shape. A colour hums, a gesture whispers itself onto the canvas, and I follow where it leads. The work unfolds in layers—paint laid down, then paused, then returned to—much like listening to a conversation that deepens with time. These pauses are essential; they create space for intuition to speak, for forms to surface on their own terms rather than being forced into meaning. I paint by responding rather than directing, letting each mark become a response to the last, as though the canvas and I are co-creating in dialogue. What emerges is not a predetermined image, but a moment captured mid-transformation, holding traces of its own becoming.

Colour plays a central role in my work. I use shifting gradients to evoke movement, depth, and emotional resonance. These colours often feel fluid reflecting the themes of transition and flow that run through my practice. Texture—whether smooth, layered, or built up in subtle ridges—adds another dimension, inviting viewers not just to see but to feel the work.

Ultimately, I want my paintings to act as opening points rather than final statements. Each piece is a conversation, not simply between the viewer and the artwork, but between the viewer and themselves. The abstract nature of my work allows interpretation to remain open-ended; I am less interested in communicating a fixed message and more interested in creating space for reflection, curiosity, and connection.

Art, for me, is a way of making the internal visible. It is a bridge—between past and present, individual and collective, silence and expression. Through my work, I hope to offer viewers not just images, but moments of recognition, discovery, and shared humanity.

Roy Rodgers was educated at Kingston School of Arts. After National Service, he returned to study at Royal Academy Schools where he went on to win the Landseer Painting Scholarship tenable for two years ending in 1962 and David Murray landscape prize and two Landseer medals for painting. In 1963, Roy became the winner of Lord Mayor’s Art Award.
Roy later became a senior lecturer at Harrow School of Art until 1985. He then went on and worked as a sculptor in the British film industry on most of the major films made in the UK until 2009. Films including Star Wars, The Empire Strikes Back, Labyrinth, Empire of the Sun, Alien, Tomb Raider 1 & 2, Hamlet, Elizabeth I, The Mummy 1 & 2, Harry Potter (films 2,3 & 4) and Prometheus to name but a few.

Now as a full time Painter he says ” I do not look at areas within a landscape in terms of what would make a “good picture”, but rather feel a sensation that the place may evoke.
In the same way that taste, smell, or hearing a particular piece of music may effect one’s senses, my paintings are based to a large extent on a combination of memory and on the spot drawings and watercolours.”

Roy also runs oil painting classes, giving demos, lectures, and exhibiting regularly is awe inspiring.
His works can be seen in numerous Private and Public Collections.

Artist – Roy Rodgers
“Kenneth Clarke once said ‘the most important thing about painting is that it must be life enhancing.’
To live with a painting by Roy Rodgers is a life enhancing experience, as he always shows us his way of seeing the world. He reveals the world to us, he celebrates the world and he communicates that celebration to us.”
Ken Howard O.B.E. R.A.

Cheryl’s inspiration for her sculpture is linked to her intense interest in life drawing and the human indomitable spirit. Her passion for myths and magic connect her to dance, drama. and all things theatrical. Cheryl’s work appeals to those with a taste for individualistic quirky pieces.
As a longstanding tutor for life drawing Cheryl’s extension to weekly Zoom sessions serve as a super source of ideas for her sculptures, ranging in sizes from fused and cast glass, ceramics, resin bronzes & bronzes. Exhibiting widely Cheryl’s work is held in public & private collections.
Commissions undertaken.

She does Life Drawing on Zoom Monday evenings 7.00-9.00pm BST  with fabulous  International Models and Performers – mainly nude.

Please do email Cheryl for details of her classes.

Following her earlier career in television and film Eva turned her fascination for props and model making to produce sculptures from recycled metals and steel to make quirky – modern creations which are often on the verge of being delightfully abstract rather then realistic.