Bernard is a quiet modest man but full of determination and energy, which is often reflected in his work. If you take for example, 'Just the Two of Us', the movement of the piece is full of vitality, the two-figures joined not only by physical attributes but also by an emotional energy too. More recently Bernard’s work has moved towards abstraction, where marks of the artists tools are more evident, 'Autumn Days' bears this evidence where rough stone sits symmetrically next to the smooth polished stone. Another abstract piece in place at the gallery is 'Riding the Wave', which is completely smooth and polished made from limestone which depicts a large kidney form with two smaller geometric shapes inside where the subtractive process is manifest. A piece that most visitors of the gallery cannot help but stroke, the tactile nature of this artwork makes something so hard and inanimate become more lifelike offering a special kind of sensory experience.

Sally’s paintings are a means of expressing what she feels to be the essence of the land. She spends many hours working outside in all weathers, simply looking and making marks in her countless sketchbooks. Though she does not work directly from these visual notes, they are a necessary means of storing and holding ideas. Going back through these sketchbooks she remembers the weather, the sounds and energy of the place, she will call on these sometimes-tenuous threads to help inform the work created in her studio. Located in Hastings Country Park, her studio again gives her immediate access to a beautifully diverse landscape. She will often spend many hours sitting and contemplating the feel of the natural park right on her doorstep. She also spends a great deal of time travelling and painting in Pembrokeshire, Wales, and New Zealand. The quality of light, the scale and the sense of mystery and majesty in both Pembrokeshire and New Zealand continues to inform and excite her.

Melvyn Evans the artist, illustrator and printmaker's bold lino-cut prints and paintings, feature seascapes and landscapes. Melvyn takes inspiration from the ancient natural elements of the British landscape specifically the Hitchen Stone boundary between Yorkshire and Lancashire. A series of works including Stone Forest (2019) and Lost Land With Boat Form (2020) reimagine the fossilised ruins of a vast submerged area called Doggerland, where in around 6,500BC, rising sea levels flooded the area which originally connected Britain to continental Europe. Remnants can still be seen today at low tide in some areas particularly at Redcar beach. If there’s one thing the work of Melvyn Evans conveys it’s his love for the British countryside. In both the representation of land and the sea, through a considered use of colour and shape, his paintings and lino prints embody a historic sense of place. They explore the bonds that exist between human endeavour and the landscape as a dramatic, natural backdrop.

Stanley studied at Beckenham College of Art and Royal College of Art, London, where her teachers included Francis Bacon. A prolific painter and printmaker, her early work documented a rapidly changing London, before becoming primarily concerned with landscape. She relocated to Ireland in 1975. Teaching at the National College of Art and Design, Dublin, 1975–90. She was a director of the Black Church Print Studio and a board member of the Graphic Studio Trust. Jacqueline exhibited widely and much of her work is in major public and private collections. Among Jacqueline’s many awards include Royal College of Art Sketch club Award,1st prize in painting (1950), Young Contemporaries, 1st prize (shared with Donald Hamilton Fraser) (1950), Lord Mayor’s Exhibition, Guildhall, London, 1st Prize for Painting Lord Mayor’s Art Award (1968), Lord Mayor’s Exhibition, Guildhall, London, Print Award (1972), Taiwan International Print (Jury Award) (1987), and Awarded HRHA (2018)

Keith Purser lives and works on the edge of the desert-like environment of Europe's largest shingle bank, in the shadow of Dungeness power station and within sight of the coast of France. Born in Bromley, Kent, he attended Sidcup School of Art in the 1960s.

Mick Rooney studied at Sutton School of Art from 1959 to 1962, Wimbledon School of Art from 1962 to 1964, and subsequently at the Royal College of Art, London from 1964 to 1967. Here he was awarded the Austin Abbey Major Scholarship to study at the British School of Rome from 1967 to 1968, where he was commissioned by the Franciscan Order to create a wall mosaic for a new Basilica in Nazareth, Israel. Between 1968 and 1982 he taught part-time at various art colleges. Rooney’s early solo exhibitions were held from 1965 at the Fulham Gallery, London, Galerie Petit, Amsterdam, Seasons Gallery, The Hague and Patrick Seale Gallery, London, with regular solo shows being held at the Mercury Gallery, London from 1984. A retrospective of his work (covering the period 1978 to 1988) was held in 1989 and toured Folkestone, Eastbourne and Bath. Rooney’s work has been included in many group exhibitions in Britain and abroad. Among Rooney’s commissions is a painting to celebrate the centenary of the Financial Times (1988), a poster for London Underground (1990), a tapestry commissioned by TSB for Birmingham Headquarters (woven by Edinburgh Tapestry Company) and a book cover for Mr and Mrs Noah – recent poems by Brendan Kennely. Among Rooney’s many awards are ANSVAR Insurance, Towner Art Gallery, Eastbourne (1981), World of Newspapers, Daily Mirror, London (1982), Spirit of London, GLC Southbank (1983), Gulbenkian Printmakers Award (1984), John Player Portrait Award, National Portrait Gallery (1985), Daler/Rowney Prize (Royal Academy, 1986), House and Garden Magazine Award (Royal Academy, 1988), Korn/Ferry International Premier Award (Royal Academy, 1989) and First Prize, Chichester Arts Festival Exhibition. Rooney was Artist in Residence for the Towner Art Gallery, Eastbourne in 1983. He was elected Royal Academician in 1991 and in 2001 was elected to the Royal Society of Painters and Printmakers.