The second edition of SPOTLIGHT, our new quarterly online series, features the latest work of four gallery artists, including: Jeremy Annear, with two abstract compositions from his most recent series; figurative sculptures by Arabella Brooke; the floral motifs of Rosie Harbottle; and Beatrice Hasell-McCosh's abstracted canvases inspired by British gardens and the natural world. Each artist presents two works made especially for the series, accompanied by studio interviews that delve into their unique practices. 

Explore their new work and find out more about the artists in their own words below.


In person viewings: If you would like to view these works at the gallery please call: 01264 810 817 – or  email:


    • Jeremy Annear Cosmo I Oil on canvas 60 x 40 cms
      Jeremy Annear
      Cosmo I
      Oil on canvas
      60 x 40 cms
      £ 7,450.00
    • Jeremy Annear Cosmo II Oil on canvas 60 x 42 cms
      Jeremy Annear
      Cosmo II
      Oil on canvas
      60 x 42 cms
      £ 7,450.00

    Jeremy Annear in his studio, 2024. © The Artist.


    EASTWOOD FINE ART: In your studio, you keep a library of books and orthodox icons. Are there any enduring sources you look to within your practice – be they from art history, literature, music or religion – and how do they inform your work?  

    JEREMY ANNEAR: This is a good question but not easy to answer. My studio has grown around me, it is a sanctuary, a safe place and a place of retreat. It has its own calm but energetic and distinct presence, that is often to my surprise and pleasure commented on by those who enter it. I think that generally any space where a person consistently creatively searches and produces any material object or artefact can express this metaphysical almost tangible energy.


    I am by nature positive, reflective and focused. My work could be described as a form of geometry (in terms of reaching for the sacred, rather than logical or mathematic) and abstraction (in that it is not representational, topographical or narrative). And so to address the question, I surround myself in the studio with music and musical instruments, some that I just like to look at like a broken accordion and an ancient Middle Eastern lute, as well as literature of all sorts. I just like books, love objects from my whole life including, for instance, a very worn and broken brown velvet monkey from my childhood, quirky objects picked up along the way, and of course the materials of my trade including some that I have had since my days in art school in the ’60s. 


    Read the full interview


    • Arabella Brooke, Angel
      Arabella Brooke, Angel
    • Arabella Brooke, The Fragile Thing We Hold
      Arabella Brooke, The Fragile Thing We Hold
    Arabella Brooke in her studio, 2023. © The Artist.


    EASTWOOD FINE ART: You began your working life in an entirely different field, could you tell us how you came to become an artist? 


    ARABELLA BROOKE: I’m not sure I ever actually ‘became’ an artist.  I come from a family of artists and writers, and even as a child, it wasn’t seen as unusual to want to bring paper and paints on holiday. The desire to look at something, to really ‘see’ it and then represent it, on paper or in 3D, has always been a part of my life.


    So, while my academic and career path took me in a non-artistic direction, the ‘art’ side of things still flourished.  I often found myself doodling in lectures or sketching colleagues in meetings, and I always attended art classes after work and on weekends.  With hindsight, while I enjoyed the intellectual challenges of Oxford University and City life, I always felt like I was pretending to be someone else, and I am still happiest with dirty fingernails, wearing overalls, and actually making something.   



    Rosie Harbottle in her studio, 2024. © The Artist.


    EASTWOOD FINE ART: Your work is closely informed by nature, and defined by a distinct use of line, form and luminous colour that is both bold and sparing. Are there specific makers or sources you look to for inspiration, such as gardens, artists, musicians or books? 


    ROSIE HARBOTTLE: We live in a little wooden house on the edge of Dartmoor surrounded by trees with a small river that runs through the garden, and so very much live amongst nature. Inspiration is all around and I love being guided by the seasons in terms of the plants and flowers that I draw and paint. Music is also very important to my creative process, a piece of music or song can often determine the direction of a painting, as I create from feeling as well as a vision. In the studio, you will mainly find me listening to folk music or Afrobeat. I adore colour and particularly love the work of Milton Avery, Vanessa Bell, and Pierre Boncompain amongst others, and their work will often inspire an idea or colour combination that I haven't yet explored.


    Beatrice Hasell-McCosh in her studio. © The Artist.


    EASTWOOD FINE ART:  You begin by working in watercolours from life that culminate in these beautiful large-scale abstracted canvases that almost amount to environments, could you tell us about your process and approach to image making? 


    BEATRICE HASELL-MCCOSH: I spend a lot of time drawing to begin with. When the weather is good I try to make as much work as possible so that I then have these reference images for the rest of the year. Many of these small watercolours sit in my studio for a number of years providing inspiration and architecture to the large-scale pieces over a long period of time. When I start a big painting back in my studio I lay all the watercolours out on the floor and look at them continuously. I usually have a palette in my head to begin with but otherwise, it is all unplanned and as it comes together using shapes from the original drawings it becomes much more about the negative shapes, the liminal space and physicality of the paint itself rather than a figurative likeness. I work on 4 or 5 things at once and all my work informs each other over several months.


    Read the full interview

    DECEMBER 2023