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| Heroic and hopeful, this diagonally anchored seascape captures a majestically idyllic tableau, aptly titled «Dolphin paradise» by Malcolm Bisset. |
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| Another flavour of pastoral charm is offered by this timber cottage, Peter G. Owen's «Lancashire lane, autumn». As far as Google Maps is concerned, there exists a «Lancashire Way», a «Lancashire Road», and a «Lancashire Drive», but, alas, no «Lancashire Lane»—rendered here with an extra layer of imaginative license that renders it quite unsuitable for Amazon deliveries. |
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| This evocative image showcases a splendidly balanced arrangement: verdant tones on one side, marine blues on the other, whilst the seldom-celebrated artistry of a dilapidated boat's ribs makes the piece particularly therapeutic and transporting. It is Michael Hough's «Wreck on Anglesey 2». |
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| This timeless vision of «Old London 3» by Roger Jenkins is something one could scrutinise all day. What colour is the water here? Spanning olive to dark moss and deep jungle, the greenish hues shine brilliantly against the rest of the marina. Naturally, the same deft hand has deployed identical expertise to the sky above, where peripheral blues widen the perspective whilst subtly encasing the viewer's gaze toward the focal centre. |
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| These stylised coastal vistas by Julia Ramis offer an effective demonstration of how posterisation (coupled with astute palette choices) allows mere suggestion to supersede overt representation. |
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| These expressive sylvan study pieces by Sarah Ellen, «Into the woods» [left] and «Golden lights» [right], invite viewers to lose themselves entirely within nature’s grand design. |