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Ammar Khammash

Ammar Khammash is widely regarded as one of the most significant artists to emerge from the Middle East in the 21st century. His paintings — vast landscapes and cityscapes spanning desert, forest, mountain and rock, alongside interior spaces punctuated by a lone building or figure — have drawn a wide range of critical responses, variously described as disturbing, unsettling, dramatic and romantic.

Writing in Ancient Landscape: The Landscape Paintings of Ammar Khammash, critic Trish Edelstein argues that this breadth of response reflects the sheer scale and ambition of Khammash's work. His paintings, she notes, are not conventional depictions of place; rather, they emerge from the artist's own solitary passage through these landscapes, encountered not only as physical surface but as an accumulation of disciplines and modes of expression. In Edelstein's reading, Khammash's work carries the geology and biology of a place — knowledge drawn not from canvas and paint alone, but from lived experience of the terrain itself.

Charles Wilson

Charles Wilson takes his inspiration from the landscapes of Wiltshire, where his family has kept a home near Marlborough for more than two decades. Over that time, his paintings have developed into something like a visual diary, tracking how the dominant colours of the fields shift with the seasons and play against the changing skies above them.

Wilson's abstract compositions are journeys of discovery in their own right, exploring how colour interacts with colour within the boundaries of the canvas. Prehistoric sites in the region — Silbury Hill chief among them — recur throughout his work; he returns often to its shifting form under daylight and at dusk. The resulting paintings function as portraits of landscape across time, in which colour, shape and edge combine to trace the contours of a place as revealed by the natural light of day.