four awards were announced during the open west 2014


The Curators' Award (shared) Tom Ormond and Lian Zhang
The Wilson Award    Chris Dunseath
The University of Gloucestershire Award Helen Sturgess



The Curators' Award


Unusually this year The Curators' Award was split, two artists whose work is energetic, compelling and eminently painterly share the award.



Tom Ormond



Inside Out, oil on linen, 183 x 193 cm











Tom lives and works in London and studied at Loughborough (BA Fine Art Painting) and Goldsmiths (MA Fine Art). "Painting is at once ridiculous and vital it takes you somewhere. The activity of painting has utopian ambition and is often practised in the face of adversity, yet it is still pursued. Starting with an ideal and a blank canvas, the initial buzz is quickly followed by disappointment and the grubby business of searching begins.


Lian Zhang



Golden Shower, oil on canvas, 150 x 150 cm






Lian lives and works in London and Hangzhou, China. She has an MA in Painting from both the China Academy of Art and the Royal College of Art. “My work is based on a practice of collecting images and shuttling them into relations through which a series of fractured narratives start to emerge… each painting might on the surface be read as a single image but on a spatial and temporal level there is a sense of discontinuity.”

The Wilson Award


Chris Dunseath



Spin Symmetry, cherry and ash woods, 196 x 140 x 60 cm







Chris lives and works in Somerset. He studied at Gloucestershire College of Art & Design, Cheltenham and Slade School of Art. “My work is influenced by a curiosity about Theoretical Physics and relates sculptural concerns with current ideas that investigate the nature of space, mass and time.”





The University of Gloucestershire Award


Helen Sturgess



Wrestling with the Angel, fabriano paper, fishing wire







Helen lives and works in Sydney and London. She studied at Wimbledon School of Art (BA Sculpture) and at the Slade (MFA). "My drawing ranges from small intense, ink on paper worlds to large gestural 3D works. On the one hand, I take great care to prevent the slightest kink or sullying of the paper - almost obsessive, this cosseting of the drawn surface. How marvellously transgressive it feels then, to take this pure thing and scrunch and wrestle it until a new equilibrium is found and it hangs serenely in space."