Despite quite different practices the work of Andrea Coltman and Jane Pickersgill (Studio 5-132) share the common theme of Incognito: the act of being under cover, anonymous, or in disguise.

Andrea Coltman’s paintings reference her family’s history of displacement and transience. Her use of fluorescent colours suggests the notion that, ironically, the best way to disappear in a crowd is to wear hi-vis. A nomadic observer, drawn to capturing snapshots in time, Andrea is absorbed with places and spaces of transition, constant transformation drawing on her own movements and intersected journeys. Connections and disconnections reveal a state of flux, crossing physical and metaphorical boundaries, moving between material, physical and emotional states. Combining figuration and abstraction Andrea responds to the passer-by, the environment, editing, re-editing, duplicating, interpreting, and re-interpreting the literal. Repetition alludes to the cyclical nature of daily life. Precision is implied, imperfections arise, and unexpected narratives unravel with dystopian overtones. Andrea reflects psychologically to the everyday overlooked instant or object. She is drawn to the ephemeral, the split second, a passage through a place or environment.

Jane Pickersgill’s practice is interdisciplinary in nature: using paper, textiles and sewn thread work. Her methods reference couture fashion – garments custom made to fit one wearer – sewn primarily by hand. This labour-intensive process uses luxury fabric to dictate the structure of the garment: draped onto the body then stitched into place. Couture is fashion as art and outfits are aspirational theatrical fantasies offering the wearer an alternative persona. In contrast a favoured fabric employed in these works is a widely available low-priced mesh, used for fancy dress costumes, tutus, and bridal wear. Due to its stiffness, it usually performs the task of supporting the valuable, outer materials and might be considered the invisible bones beneath the skin. Typically, Jane’s work is monochrome, but she has recently started a dialogue with Andrea’s pieces by using similar neon shades.

About the artists
Andrea Coltman & Jane Pickersgill met in 2016 whilst studying for their MFA Fine Art at Wimbledon College (UAL). They connected during a series of residencies organised by Andrea and have shared a studio since 2018, moving to Thames-side in June 2024.

Andrea Coltman
Andrea’s career began as a Graphic and Exhibition Designer working in Print; A Publishing House; and British Gas before going freelance. In 2013 Andrea gained BA(Hons) Fine Art Distinction with The University of Kent and 2017 MFA with The University of Arts, London. Between 2016-2018, Andrea facilitated, led, funded, and participated in the first annual artist residency within a construction site on Canary Wharf attracting alumni of over 30 artists, running workshops and seminars. Invited guest artists included Rebecca Byrne, Rosalind Davies, Liz Elton, Samuel L. Herbert, Ian Monroe, and Andrea V. Wright. Organising, curating, fundraising, collaborating with other artists, Andrea has exhibited and sold work nationally and internationally, and in 2024 she started an independent art school for all ages and abilities. www.andreacoltman.com

Jane Pickersgill
Before completing a MA Jane had an extensive career in fashion design. She turned freelance to set up a textile jewellery business and tutor students. From a working-class community in the north of England she faced parental disapproval in her chosen career but was inspired by her grandmother who taught her to sew at an early age.

A primary focus is the transformation of banal constituents into desirable objects and how contemporary culture fetishises these. Abstract imagery references super modern architecture such as The Shard, which function as a metaphor for ambition, for social mobility. Her materials are frequently the unseen components, the by-product of a particular discipline. These are recontextualised: disguised, removed from traditional usage and challenged to perform anew. Additionally, she explores the relationship of surface and object: asking whether the frame is an active participant or a passive afterthought to the piece. Jane has a BA (Hons) Fashion from University of Northumbria, MFA from University of Arts, London. She has exhibited in the UK and, collaboratively, with an artist working in Europe and China.
www.janepickersgill.com



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