2025 Summer Exhibition: Summer Show with Gallery Favourites and Charity Fund Raising

Coming from a background in traditional two-dimensional painting, Chambers blends historical and contemporary perspectives in his work. He believes in the importance of referencing art history while also valuing the act of making—combining ideas with craftsmanship. His artistic approach reflects a deep passion for questioning, creating, and responding to the world. While he acknowledges that art cannot solve global crises, he firmly believes it has a responsibility to raise awareness and provoke thought.

We are delighted to welcome Stephen to the gallery, hosting an exhibition of his work earlier this year. He collaborated with my father, Hugh Stoneman, on prints many years ago, and I have long admired his work. It is always a pleasure to work with artists like Stephen, who possess such a deep love and understanding of printmaking, embracing it as an art form in its own right.

Sandra Blow RA (1925-2006) was one of the leading lights of the abstract art movement of the 1950s. Her works are often on a large scale and consist of abstract collages made up from cheap discarded materials such as sawdust, cut-out strips of old canvas, plaster and torn paper. The use of such materials is designed to create an expressive informality and promote a natural, organic feeling. Her works have a tactile as well as visual emphasis on surface, and her use of simple large geometric shapes lends a feeling of expansiveness and dynamism.

Sandra Blow was born in London in 1925, the daughter of a Kent fruit farmer whose orchards supplied retailers in Covent Garden. She left school at 15 and in 1940 entered St Martin's School of Art. Shortly after the Second World War, Blow studied at the Royal Academy Schools, but in 1947 ventured further afield and lived in Italy for a year, where she met Alberto Burri, who was a significant influence on her work for the rest of her career.