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Mary Blindflowers coined the movement “Destructuralism” whose ideas are expressed in her blog and in the magazine, both named “Destructuralism and more”. Mary has in her portfolio several art exhibitions, all around the UK since 2017. She won the first drawing prize at the Henry Moore Foundation in 2019. Currently working on her self-publishing project called Thinking Man Editions, as independent publisher and author of many publications (non-fiction, poetry, novels and plays).Please contact us for details. Publications site - https://thinkingmaneditore.wixsite.com/uovoquadro

Leonhard Wachter is a German painter. In 2018 he began his studies at the Kunsthochschule Giebichenstein in Halle/ Saale. First, Leonhard Wachter devoted himself to sculpture and learned in the class of Bruno Raetsch. A little later, in 2022, he changed his major and began studying painting with Tilo Baumgärtel. His work is entangled in the search for truth and yet it is crystal clear in its transparency. Leonhard Wachter (*1995) defends a vision that, with provocative dominance and seductive translucency, casts a series of evocative visions on the timelessness of the ever-lasting struggle between the idea and the imagined. His work is like a wind which blows through the rigidity of the past and gives spirituality, where often the mind can only grasp masks.

Anne von Westphalen, who is known for her narrative painting and has made a name for herself under her artist's name, recently became better known through the jury selection for the prestigious Strabag Prize. Von Westphalen completed her preliminary studies at the age of twenty at the Rostock Art School before the now 32-year-old artist began her studies in 2009 at the University of the Arts under Professor Pia Fries. In 2015, she graduated as a master student of Prof Gregory Cumins and developed her painting from then on. Since then, her work has been shown in numerous exhibitions. Her work spans a great range in a multitude of directions, in terms of subject matter, practice and more.

A maker of worlds, a destroyer of worlds, or simply an explorer of the undetermined in space or time this and more are the roles Hermann Reimer as artist and creator fills. Questions of what is possible, what is past or present, what is tangible or hidden fill his artworks. He jumps between worlds and with a little artistic quantum tunnelling between genres; interior views, the figurative, the historical, and most recently landscape. The imagery is starker outside of his landscapes but in all areas he delves deep, drawing us down to look beyond the immediate. His touch is that of a master, you are caressed into entering Hermann’s spaces, worlds, and his flickering senses of time - you are transfixed, you follow, you stay…and return for more. As befits a masters’ student of Prof. Klaus Fußmann, and physicist his work inhabits the grey areas between art, subdued passion and the hard sciences, and are works that can only entrance and endure. His is a huge presence, imposing and one which exerts a near universal attractive force on the viewer.

Imagine in an artist, who could go back in time to the early Renaissance and transmute the base material used by greats like Botticelli, Raphael and more into visual gold. Well, he is Simon James. Why? Because, he has turned the base of such art, Gesso, into a medium for his own fleeting moods and passions. He throws onto the artwork layer after layer of gesso, using it as a trap for his momentary thoughts and feeling. He builds layer after layer…until the flow is finished. After a period of reflection, he turns inward, delving back into the work, but like we all do in hunting for moment of joy or intensity. Cutting deep, he creates depth both physical and emotional. The result, is quite incredible, a fusion of old and new, passion, skill and intuition, and more often than not, a true masterpiece.

A career in the arts...was an unknown option for a young Sean Cotter, yet rapidly it turns from the unknown, to the unexpected and decades later into a career where a long-held passion is realised every day. A love of the natural inhabits and illuminates Sean’s work. One can feel the imposing weight, power, and grandeur of the glacial, the volcanic and explosive or subtle poer of Iceland’s treasures captured in and by Sean’s vision and talent. The swirl, the majestic, instinctual beauty of form shines out from his Memorate series. All his works, through the horizon spanning landscapes, the focused views, and the life he captures and displays for us in our little boxes demonstrate the romantic majesty the world outside of our doors and settlements´. Once this vision inspired a great art movement across genres, in many ways leading to first protections of the sublime natural world across nations, maybe it can again. Whatever does happen, take the time to gaze on Sean’s work, which is well established in his native Ireland and easily captures the ideal balance of abstraction to deliver the grandeur of the subject. Compelling.

Certainly, as soon as we saw the work we knew we had to showcase it here. There is motion, there is serenity, there is depth and a swirl which weaves strands of knowledge together to create the intense and incredible artworks of Anis Tabaree. Vibrant and deep, the forms, the structures compel ones attention. She plucks at historic threads to create beauty and comment, which is altogether timeless. As when, for example, she reference the history of the Qatar dynasty, and more modern issues. All of which makes one want to start to delve deeper and understand more the past of this historical crucible and crossroads, where Anis lives and works. So there is depth and yet even without knowledge the style, the passion, the impact of line and form is mesmerising. Then, sometimes she adds colour, and well…another layer is added, she is often sparing in its use, yet when applied…wow…and that is why already her work sits in some museum collections. Time remains, to collect and enjoy. Take it and savour something a little different but which send one in to a soulful rapture, which tells you why we need art in our lives.

From a cupboard to the RHA’s Summer Exhibition for Daithi it has been quite the fantastical journey. Our first meeting, was magical, in a Harry Potter sense, when we came across his work during a Wimbledon Studios open day. His particular studio, was so small in fact, that he had had to take off the door, so visitors could see his work and him. But from small acorns come great things. This was the setting then where we first encountered this dedicated lover of architecture, history and materials old and new. A few year later, Irish born and bred, Daithi is now gracing Ireland’s equivalent to Britain’s world famous Royal Academy, Summer Exhibition. For us this is no surprise. Daithi’s art always has had flair, sometimes so much so that it demands to be centre stage. Yet behind the flair and drama, there are messages which are frequently complex but also totally relatable. This makes his art easy to into dive into, whatever your background, and after a little time in the shallow end, you can diver deeper into the tempting depths. The superficial and the deep elements for us starkly link the art to how we live and have lived our ordinary lives. The great fun in Daithi’s work though is the search, the hunt for the clues, the signs (sometimes literally) and the asides which open the door to realties we can understand and often much more. At AOR it is these elements, which we draw into focus and highlight. The carefully crafted intricate elements which live in Daithi’s structures take you back to the past, present, future or even the other worldly. Centred many times around a concept of the home, the works gives us a familiar starting point, to enter his commentary on our societies . Given his background, often the references are to Ireland’s unique mix of religion, folklore, domesticity and rapid social change. Yet, wherever you are based, you will see him tackling universals issues and truths. His canvas is both parochial and universal to us. So go explore, dive in and enjoy. You will be rewarded, time and again.

“Who the **** are you?”, once asked John Lennon*. The answer was Brian Brooks, creator of mesmeric art and a talent musician and more. He is also a man whose stories illuminate and entrance, just like his art. He was Britain’s man in New York in the 70s. He knew Deborah Harry, he was dorm mates with Rupert Smith, he worked with Andy Warhol and much, much more. As an artist, his work is second to none. He has a range which few can match, exquisite skill, and a penetrating vision. Brian M. Brooks’ work remains relatively unknown, but it is one which will almost certainly reward the collector. My work navigates the boundary between realism, abstraction and colour theory, drawing on Josef Albers’ exploration of colour interactions. I create realistic, semi-abstract, and fully abstract pieces—each informing the other in a layered conversation. Through this interplay, I investigate how colour shapes form, depth and perception, while also exploring the concept of fragmentation within my semi-abstract work. His subject matter spans the genres of portraiture, landscape, seascape and still life, each offering a unique space to explore the dynamics of colour and form. In his abstract compositions, he examines how colours interact and influence each other, reflecting Albers’ belief in colour as an active, relational force. At times by placing colours side by side in unexpected ways, he create tensions and harmonies that shift with the viewer’s perspective. This study of colour as a dynamic medium not only underpins my abstract work but also influences my approach to realism, where colour plays a central role in evoking mood, space, and emotion. The semi-abstract pieces bridge these worlds, incorporating elements of both realism and abstraction through the concept of fragmentation. Here, form is deconstructed and reassembled, suggesting figures, landscapes or still life compositions that emerge and dissolve into fields of colour. Fragmentation allows hin to capture the transient and multifaceted nature of perception—how we often perceive things not as solid wholes but as fragments that the mind pieces together. This approach invites the viewer to actively participate in constructing meaning, while interpreting the whole through its parts. Through his work, he aims to engage viewers in a dynamic experience where colour, form and fragmentation create a shifting sense of reality. By blending abstract colour studies with realistic representation and fragmented forms across various subjects, He encourages a deeper, layered exploration of how colour and perception inform our understanding of the world. *Lennon’s erudite statement was in response to discovering Brian in a recording studio he had booked…yet a little while late he and Brian were jamming and talking music. A talent for bonhomie is also one Brian possesses.