Ian Edward's works express creativity, insights, and truth; the purpose of each piece is to capture the pinnacle moments of life’s journey. At the cornerstone of the artist’s works is the endeavour of the human spirit.

The series expresses Edwards life’s beckoning; through reflecting the need of each individual to find their life’s calling, using “inspirational sculptures which resonate with that which is at the human core”.

Richard hit the headlines when he completed his first life-size oil painting of an African bull elephant called “Tembo”. It sold for a staggering $100,000.00 to a private collector with a large donation from the sale going directly to The Born Free Foundation.  He has since completed a further three life-size elephant paintings  including Mark Shand's "Tara" which was auctioned at the famous London Elephant parade Mela evening hosted by actress Goldie Hawn.

His Instagram follower count will soon surpass 800,000.  Dino is one of the most versatile artists in the world.  He works with traditional oil painting techniques, acrylics, watercolor, pencil, traditional inks, Ultra Violet inks, salt, gunpowder, dust, and many other mediums to amaze collectors and spectators alike.  To see Dino create his work is a show in itself. 

Caroline grew up near Harrogate in Yorkshire surrounded by dogs and horses. Caroline had been taught to ride before she could even properly talk. She became a keen amateur showjumper and became a familiar face on the Yorkshire circuit. 

As a young equestrian artist, she would spend hours studying the horse sitting in the stable and during the summer she would sit in the fields sketching the horses grazing. These early years gave her a good grounding in the understanding of how to draw horses. Spending so much of her early years with horses has given her a deep understanding of the animal.  

Caroline currently lives in London and works mainly on large-scale horse paintings on canvas. Her much-loved medium is oil. Her mission is to capture the essence of the horse and each painting is meant to bring the presence of the horse into the room with the viewer. 

Expressiveness and raw abstraction are the original strengths of my new painting technique, and as you know I spent the first months exploring the many possibilities before I proceeded to find ways to gain more control over the outcome by tackling realistic images with this new method. (Which turned out to be a quite challenging endeavor, kind of like taming a wild horse and teach it some tricks.)

The Master studies serve this purpose very well, but their benefits go far beyond the technical aspect. They also offer utterly important lessons about myself and what my art might be about after this rebirth process. Each of these various subjects I'm studying is teaching me a lot about what clicks for me, which subjects, tones, implementations etc. speak to me the most. "Nice" subjects implemented in a realistic manner for example often feel stiff and boring, while "not so nice and obvious" things, painted in a more lose and abstracted way feel alive and exciting. My studies are filled with hints like this and I'm busy following the breadcrumbs.