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PHIL FRANKLAND
CALUM BAYNE
AILISH TREANOR
MEAGHAN STEWART
OBJECTS OF HORROR
VERA BAXTER
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Middle Entry 2020, acrylic, emulsion, dye and stitched drop cloth. 190x116cm
Spray 2020, pigment and varnish on digital print, 168x120cm
Two Attractive Parallel Lines, 2020, oil paint, aluminium foil, pigment on aluminium panel 56.5x80cm
Untitled, oil paint, glue, buttons, and collage on aluminium panel, 70x50cm
Rice Fingernails, 2020, raw pigment and varnish on digital print, 168x120cm
Tree Painting (for EM) 2020, oil paint on aluminium panel, 45x35cm

Phil Frankland is an artist currently living and working in London

​Recent Exhibitions include Stainer at Spike Island Test Space, Bristol, UK in 2020

Testing at Unit 3, London, 2019 

Contrepoint (with Garance Alves) at Plagia Rama, Brussels, 2018 

The Half of Halves, Zwarte Zaal, Ghent, BE 2017.

In Frankland’s practice, personal narratives and visual histories are constantly dug up, questioned, agonised over, copied, and regurgitated. Borrowing ideas from painting, printing and collage, works can exist as refined, stark statements of intent; on the flip side, they amass as muddled content, materially soiled. Employing these diverse aesthetic outcomes  allows Frankland’s practice to develop as documentation of the artist as a constant maker and reflector.


Middle Entry 2020, acrylic, emulsion, dye and stitched drop cloth. 190x116cm
Spray 2020, pigment and varnish on digital print, 168x120cm
Two Attractive Parallel Lines, 2020, oil paint, aluminium foil, pigment on aluminium panel 56.5x80cm
Untitled, oil paint, glue, buttons, and collage on aluminium panel, 70x50cm
Rice Fingernails, 2020, raw pigment and varnish on digital print, 168x120cm
Tree Painting (for EM) 2020, oil paint on aluminium panel, 45x35cm

Phil Frankland is an artist currently living and working in London

​Recent Exhibitions include Stainer at Spike Island Test Space, Bristol, UK in 2020

Testing at Unit 3, London, 2019 

Contrepoint (with Garance Alves) at Plagia Rama, Brussels, 2018 

The Half of Halves, Zwarte Zaal, Ghent, BE 2017.

In Frankland’s practice, personal narratives and visual histories are constantly dug up, questioned, agonised over, copied, and regurgitated. Borrowing ideas from painting, printing and collage, works can exist as refined, stark statements of intent; on the flip side, they amass as muddled content, materially soiled. Employing these diverse aesthetic outcomes  allows Frankland’s practice to develop as documentation of the artist as a constant maker and reflector.