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Bio

Sandra has worked in the art industry for many years as an artist, art tutor, research fellow, art administrator, curator and gallery owner. She holds both a Bachelor of Fine Arts Degree in Printmaking and a Master’s Degree in Art History focusing on contemporary art.

Currently based in London and Bath, and building on her expertise, she has established herself as an Independent Art Advisor and Curator.  Her advisory service has a wide-ranging client base with prominent corporations, private clients and artists.

Having travelled extensively curating and mounting exhibitions she has an enviable network of galleries, museums and practising artists with whom she actively participates. She has recently developed a specialisation in Latin American Art.

She is the past Vice-Chairman of the Chelsea Arts Club and a guide/lecturer at the Tate Galleries.

Shades Of Green

Play the video below to find out about this exciting new project envisioned and curated by Sandra Higgins.

This project gathers a hand-picked, intentionally diverse group of artists and will provide a fascinating look at how each individual responds to their relationship with nature. In doing so, the project will be as much a psychological study of artistic interpretation of nature as an artistic depiction of it through the works they create.  Each artist will be showcased with their own video on this website and on social media over the coming weeks.

Fiona McIntyre

I was born in Nairobi in 1963 and brought up in Ireland and England. I trained in drawing and painting at Edinburgh College of Art eventually moving to Sweden to be mentored by the Imaginist printmaker Bertil Lundberg at studios in Malmo and then on to Barcelona to do the Winchester School of Art MA course. I make Expressionist copper etchings and paintings that are inspired by dynamic natural forms and landscape using a semi-abstracted highly charged colour palette. Currently I am responding to specific trees in Englishcombe – a mature and imposing Corsican pine and an avenue of tightly spaced undulating beech trees in a luminous cathedral of lime green.

Iain Cotton

The Englishcombe valley was quiet and clothed in soft light and a gentle mizzle. I was impressed by the peacefulness of the valley, shaped perhaps by the solace of nature, experienced in recent lockdown walks in the countryside. Other impressions were of benign neglect: A junglesque wildness but with well-trodden paths and subtle boundary-making. There was evidence of a former life. A path framed by overarching trees; a spoil sheep of fragmented terracotta. Indicating the nursery that once occupied the valley.

I make sculpture in response to place, using stone, text and carving. I am interested in exploring our connectedness with the natural world using simple forms – a carved word – a line cut – a stone with human marks.

Ideas are slowly forming, like the landscape emerging from the mist on my visit

Louisa Burnett-Hall

Interpreting the Land. Starting Point
I’ve chosen to work on a view in Sandra’s garden of three acers in the autumn, – my eye caught by the
way they contain the sun in their web of crossing branches, and the energy in their warm colours. I can
just about see the hills, waves of earth, through their mesh of branches and leafy constellations.
My current practice typically uses water as a means to express the force of the natural world. This
‘unfiltered’ view contains elements similar to those I find in water – a dance of visible and invisible
patterns, energy and a sense of the beyond.

Paris, 20th November 2020

Pete Hoida

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