Paul Zawadzki is a contemporary landscape artist born and based in the rural environment of the Waveney Valley, on the Norfolk/Suffolk border, East Anglia, UK.

He mainly works in oils on canvas, employing expressive paint manipulation techniques augmented with traditional painting methods, reacting spontaneously to a painting until a final composition develops and emerges. Recently, having completed a Masters in Fine Art at Norwich University of the Arts, his work has taken a decidedly experimental turn leading to the use of oils with iron dust and deliberately rusted steel. Paul previously studied at Wimbledon School of Art and Kingston University, gaining BA (Hons) Illustration. Before this he had aspirations of becoming an architect and was a self-taught painter inspired by Surrealism, developing his artistic language.

Ally Zawadzki is a self taught  emerging artist currently based in the Waveney Valley, and wife of Paul Zawadzki. Ally’s work consists of sculptural and three-dimensional wall art pieces which draw upon their recognisable origins and materials inspired by organic forms seen around us in nature and our domestic surroundings. These practice-led investigations and an experimental approach to her work often involve the construction of a piece using reclaimed fabric, PVA glue and cement, which is then destroyed (or ‘deconstructed’) to form the basis of further investigations resulting in the finished artwork.

She enthusiastically embraces the idea of allowing an element of spontaneity to influence the development of her work. This destruction and reconstruction can occur at any point during the journey, allowing the process to be visible in the final work. The artwork slowly develops and takes on a life of its own through the considered use of oil paint and acid staining, resulting in a gradual building up textures. More recently a series of these sculptural pieces incorporating brushed wool and bright colours contrasts the two textures – hardened rough cement and soft wool. This means of manipulating and transforming the surface, examines the very nature of materials we are comfortably familiar with and raises questions about preconceptions and tactile experience.