Exhibition
The Sharp Eye
23 August to 22 October 2026
When I was thinking about the title for this, the first exhibition of Diego Correa Art Space, I wanted something that perfectly condensed the idea of what good art should be (as a minimum), while also being able to find that quality concretised in the work of each artist in the group. The title The Sharp Eye came to me after the first two artists confirmed their participation in the show and I understood what they were trying to achieve using their individual and unique processes. But it wasn’t until I had the four of them confirmed that I finally committed to this title.
I’m aware that the title may sound like a cliché, as it has been used and abused by many without any sense of depth or responsibility. Obviously, one does not want to be lumped into that crowd, so why take the risk? I believe that every good artist needs to have the ability to see what others usually can’t see, recognise, or identify, and thanks to their art, they make that unseen element visible to us. This innate “gift” won’t suffice for an artist to be called an artist; he or she will also need to develop a skill, and it is thanks to that skill that the unseen or the untold can be made visible in a harmonious way. One of the very few combinations of words that summarises that capability in both a metaphorical and literal way is “THE SHARP EYE”. All four artists in this show, for me, have that craving to express what they can so piercingly see. Let’s see why:
Benedict Douglas-Scott can see associations among the visual records of his surroundings, whether they are magazines, newspapers, cut-outs of plain or patterned papers, or even his own work as a graphic artist. He is able to put them together so they acquire a new dimension, reflecting what his mind has seen. He does this with a sense of beauty, composition, and harmony that makes the work go far beyond what could be interpreted as a mere pastiche of images. They become art pieces in their own right. Even though he has recently been exploring other mediums, I want to present this selection of collages, as they have a cohesiveness and gravitas that deserve recognition.
Vim Vinwyn’s sharp eye is merciless, satirical, and reserved. He refuses, so far, to tell us the whole story—the story that he has so clearly seen in his mind. He presents us with fragments of a visual puzzle with enough power for us to imagine the situation, but we are not given any encouragement or validation that our idea of the “problem” is the correct one. His intentional cropping and use of colour act as an iron-laced gate that denies us clarity but incites curiosity. It would be fascinating to know what every person “sees” when interpreting his paintings.
John Huw Davies’ sharp eye has a master—a master that controls how he sees, what he sees, and in what colours he sees. That master is Music. If one were to be kind, one could say that music is John’s muse, but I have the feeling that that would be neither fair nor accurate. A muse suggests and inspires. A master demands; it is the one who decides what part of its being has to be followed, explored, and put on a canvas, panel or piece of paper. In the name of art, one craves that this special relationship does not fade, but gets stronger and stronger.
Michelle Owen has discovered that her eye is that of a photographic lens; it needs a subject and a focus. Her subject is that of the landscape and its variations. But it is in her focus where the sharpness comes into play: the dissecting of the landscape, its distillation, so she can take that thing—and that thing only—that interests her from that landscape. It could be the soil, the formations, or the vestige of what was there and now is just a shadow. Her sharp eye does not discriminate between what is, what was, or what could be. The landscape is alive and changing; hence, it is her freedom to decide what part of that reality she wants to focus on and share it with us.
Diego Correa Art Space is committed to presenting artists that, at a minimum, have a “sharp eye” and a defined language. A young artist that has these qualities, like all four of these artists do, is a beautiful promise for a successful and solid career. Yes, it is not a guarantee, but it has to be the first condition for it to happen. Time, polishing of skills, and the right exhibitions at the right time will help these artists and their work to be where they deserve to be. It is a pleasure to be part of their journey.
Diego Correa
Director
Diego Correa Art Space
Viewing Room
Selected works
BENEDICT DOUGLAS-SCOTT
The Collider
YEAR
2019
TECHNIQUE
Collage on Paper (unframed)
DIMENSIONS
Paper dimensions (support): 60.8 x 32.4 cm; Image dimensions: 54.7 x 28.3 cm
PRICE
£500
The multidimensional element of this piece is what makes it so attractive. It merges technology, religion, time, nostalgia, and social perspectives, all under the Orwellian title “Obedience is our universal duty,” and all connected thanks to a beautiful and “optimistic” yellow pattern.
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The Fifth Partition
YEAR
2023
TECHNIQUE
Collage on Paper (unframed)
DIMENSIONS
Paper dimensions (support): 42.4 x 29.7 cm; Image dimensions: 25.5 x 15.9 cm
PRICE
£380
The power of creation is how I would describe this piece: all the chaos, the beauty, the force, and its expansive and centric nature, which always demand a witness… otherwise, it does not exist
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Scientist #2
YEAR
2023
TECHNIQUE
Collage on woodcut print (unframed)
DIMENSIONS
Paper dimensions (support): 41.4 x 29.5 cm; Image dimensions: 26.8 x 15.3 cm
PRICE
£380
Enlightenment comes to mind when seeing this collage: human-centric, featuring architecture as the highest human expression of civilisation, all represented in such a way that it reveals the dark side lingering as well: there is no light without the acknowledgement of darkness
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Salvaged
YEAR
2023
TECHNIQUE
Collage on Paper (unframed)
DIMENSIONS
Paper dimensions (support): 30.2 x 42.4 cm; Image dimensions: 21.5 x 30 cm
PRICE
£500
Image is constructed from a 1200x microscope image of a petal and a postcard.
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Lion Sentry #4
YEAR
2024
TECHNIQUE
Collage on Woodcut print (unframed)
DIMENSIONS
Paper dimensions (support): 57.7 x 41 cm; Image dimensions: 36.4 x 26.7 cm
PRICE
£550
Visually magnetic, the piece offers a title that serves as a clue to its meaning and to another interest of the artist: the power and destructive aspect of nuclear energy, as well as the reach of biotechnology. This reflects the proposal made in the 1980s to create a cat that would change colour when close to radiation. What seems to be the portrayal of a threat becomes the portrayal of a solution
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VIM VINWYN
On the Surface it Appeared Fun
YEAR
2019
TECHNIQUE
Oil on linen
DIMENSIONS
24 × 30 cm
PRICE
£900
The size of this piece does not correspond with the intensity of its message; it could be a large-format painting and still retain its weight. The ambiguity of the context, along with the speech bubble shape circling the central figure and his actions, adds a sense of humour to the framing. This makes the scene open to different interpretations, some of them playful and explicit
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On Partnerships
YEAR
2024
TECHNIQUE
Rabbit skin glue gesso, pigments, egg yolk, coloured pencil, oil paint glazes
DIMENSIONS
64 × 96 cm
PRICE
£2,600
This painting can be approached from different angles: Surrealism or Existentialism. The isolated man placed in what seems like a barren landscape suggests the dark possibility of a burial, and his emotionless face adds discomfort to our unwanted role as witnesses. The pink ground plays with our fragile capability for objective interpretation.
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Basic Necessities
YEAR
2024
TECHNIQUE
Rabbit skin glue gesso, pigments, egg yolk, coloured pencil, oil paint glazes
DIMENSIONS
100 × 122 cm
PRICE
£3,550
The composition of this piece and the expressive quality of those legs and feet give it a sharp edge, reinforced by the lifeless surroundings and the items in them. The artwork makes one wonder what happened before the man fell into that relaxed position.
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The Cut Off
YEAR
2025
TECHNIQUE
Rabbit skin glue gesso, pigments, egg yolk, coloured pencil
DIMENSIONS
122 × 80 cm
PRICE
£3,200
“What Is Left” should be the title of this painting. The way both characters are consumed physically in time and in space is cruelly enticing, like a moth to a flame—but here, there is no light.
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Monolith
YEAR
2025
TECHNIQUE
Rabbit skin glue gesso, pigments, egg yolk
DIMENSIONS
122 × 122 cm
PRICE
£3,900
The cropping of this image is so close that it challenges the idea of figuration, potentially becoming an abstract piece. As is usual for the artist, he plays with our perceptual capabilities, not giving too much information, but just enough—in this case, the top corner of a chair and an item resting on it, making it a provocative compositional exercise.
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JOHN HUW DAVIES
Attenuate
YEAR
2026
TECHNIQUE
Oil on linen canvas
DIMENSIONS
76 × 76 cm
PRICE
£2,250
Life is chaos, life is harmony; both exist. They take turns obeying a force whose rules we are still to comprehend. One of the elements in nature that embodies that perfectly is crystals, and it is exactly that, that this painting brings to my mind. A sharp view of the structure of a crystal, where the chaos of its formation brings harmony to its appearance.
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Impress Upon (I)
YEAR
2026
TECHNIQUE
Oil on wood panel
DIMENSIONS
120 × 120 cm
PRICE
£3,600
How would it be if we could see how musical notes move through the air, pushing it and finding their way until they merge? How would it be if we could see it in colour? How would they impress upon the air and upon us? John gives us a potential answer to those questions through this painting.
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In Time (triptyque)
YEAR
2025
TECHNIQUE
Oil on linen canvas
DIMENSIONS
91.4 × 61 cm each panel
PRICE
£4,100
There is a process of automation, synchronicity (hands, imagination, feelings), and fixated ideas on a specific colour palette that drive the painting process in John’s work. Looking at the sinuous patterns, the constant structure, the slight variations, and the colour distribution on this canvas, one cannot help but think that it is the visual representation of a musical arrangement.
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Initial Calibration
YEAR
2026
TECHNIQUE
Oil on linen canvas
DIMENSIONS
180 × 60 cm
PRICE
£3,600
Many of us have been to concerts where the orchestra is either tuning or calibrating its instruments. What a particular orderly chaos it is! I chose the word "orderly" as one knows that the messiness of it, the cacophony of it, is anticipating a promised order to come. How many instruments are leaving their trace of that moment on this painting? They have become a sensation
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Nysa
YEAR
2026
TECHNIQUE
Oil on wood panel
DIMENSIONS
80 × 60 cm
PRICE
£2,100
When energy is released, the effect can be felt, and it is through its dissolution and the length of its duration that one can apprehend the intensity of it. This painting suggests to me that moment when that splash of dense blue seems to hit the ground, causing its fragmentation and its integration with the ether.
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MICHELLE OWEN
Deep Time
YEAR
2026
TECHNIQUE
Oil and mixed media on canvas
DIMENSIONS
100 × 200 cm
PRICE
£4,500
It is often forgotten that part of a landscape is the soil and the rock formations too, even when one does not see them. What at first glance seems to be an abstract composition is an exploration of a landscape: its horizontality and the tension that can be created in its formation, its raw beauty and origin. It is so entangled with expressive life that it ends up having atmospheric qualities.
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Correspondences
YEAR
2026
TECHNIQUE
Oil and mixed media on canvas, brass panel
DIMENSIONS
200 × 120 cm
PRICE
£5,000
Once one understands the deep relationship Michelle has developed with the landscape, it makes sense to see and experience this dramatic snapshot of it and its exploration of materiality, bringing a natural material, brass, into the dialogue. It is extraordinary how what is alive can embody such aggressiveness, and what is dead, a gentle one. Both of them are nature.
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The Order of Things
YEAR
2026
TECHNIQUE
Oil and mixed media on canvas
DIMENSIONS
100 × 70 cm
PRICE
£2,500
Duality, geographical and cultural references, atmosphere… time. All layers imposed on top of each other bring a story to the front, expanding the portrait of nature with human intervention and making us aware of the influences one has on the other. That powerful stitching line is a testimony to its hardship.
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Towards the Shore
YEAR
2026
TECHNIQUE
Oil on canvas
DIMENSIONS
100 × 100 cm
PRICE
£3,000
The title for this painting gives us the possibility to access what it is representing. One can imagine and feel the beauty of the sand, while the dark blue sets the scene at the end of the day or at the beginning of it—the traces of time in full motion.
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What Remains
YEAR
2026
TECHNIQUE
Oil on canvas
DIMENSIONS
150 × 100 cm
PRICE
£3,750
The designer in me has a great appreciation for texture, colour, and contrast; if to that you add composition and the ability to infuse nostalgia into that mix, the outcome has such a beauty that it seduces and captures your imagination. The subject represented, be it a landscape from above, the detail of a worn-out building, or a field, becomes irrelevant; the ability to make us feel, think, and respond to it is what matters.
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Introductory texts
Cvs
Benedict Douglas-Scott
Collage as an expressive medium in art was used for the first time by Picasso in 1912. Since then, many artists have integrated it into their work, aiming to exploit its genuine communicative capabilities.
Benedict Douglas-Scott has explored different mediums: collages, prints, assemblage art, and, lately, conceptual work, but it is, for me, with his collages where he has achieved a more holistic body of work so far.
The technique of collage has many challenges: the development of a clear language; the display of intentionality, not becoming a pastiche of images in the process; a harmonious look; the ability to communicate clearly what is in the mind of the artist; beauty, and how it is put together so it achieves such consistency, expressing at the same time the imagination of the artist without exhausting itself.
Benedict has achieved all of this on different levels, varying from work to work. Through the use of old and new patterns (some of them coming from his discarded prints), the use of old images, his compositions, the use of colour, and his concern with scale and proportion, all of it is at the service of his desire to create an image that is a consequence of his Christian values and his thoughts on the joys and terrors of our contemporary world. Whether by association with fragments of the past made graphic, or brought to the present thanks to the intervention of cuts that create a bridge between past, present and future, he shapes all of it in a graphic prose that, besides working, has a beauty of its own.
All young artists have the right and the duty to explore ways and techniques, taking those they identify with to the extreme of their expressiveness. Benedict has approached collage with such love, patience and determination that it makes me believe that there is much more that he can get out of it, making it reach levels that very rarely such a medium has been pushed to.
CURRICULUM VITAE
Benedict Douglas-Scott is a multidisciplinary artist working with collage, sculpture and print. He works parallel as an art and physics teacher.
Education
-2022–2025 MA Art and Science, Central Saint Martins, University of the Arts London. London, UK
-2011–2014 BA Architecture, University of Edinburgh Selected Exhibitions. Edinburgh, Scotland
Group Shows
-2025 MA Degree Show, Central Saint Martins, London, UK The Golden Goose, Central Saint Martins, London, UK Carbon Stories, Central Saint Martins. London, UK
-2024 MA Open Studios, Central Saint Martins, London, UK Grotto, Print Exhibition, Central Saint Martins. London, UK
-2023 MA Interim Show, Central Saint Martins. London, UK
-2022 MA Open Studios, Central Saint Martins. London, UK
Awards
-2025 Prize for excellence – Uk winner - International Takifuji Art Prize. Tokyo, Japan
Vim Vinwyn
When I visited Vim’s studio, I saw many pieces that show dedication to his process and his constant desire to expand his chosen interests—most of it through painting and figuration, it is important to say.
I decided to introduce Vim’s work to you by selecting these five pieces. For me, they represent not just the mind and intentionality of the artist, but his skills as a painter condensing what has been relevant to him and what is being explored in equal measure. There are many possibilities, many projections, many anchors.
Let’s start with the anchors: his use of colour (with pink occupying a protagonist role), his insistence on showing only a fragment of what is happening, the tense psychological atmosphere, and his use of space are the most prominent ones.
The possibilities can be understood as themes, as variations of them, or as consequences of them. The fact that Vim is letting us into the world of his creations only on his own conditions is at once shy and cruel. And here is where the possibilities come into play. It is an open invitation, both to us and to himself as an artist. It is a form of control to decide when and how he will tell us more—if he wants to.
The wonderful thing is that this hermeticism can develop into so many things. Time will tell what we will be able to experience and see. I wonder if his use of pink is chosen to make the emotionally charged situations easier to tolerate, as it brings a certain optimism. Hopefully, it is optimism and not a cruel illusion.
I am attracted to that mystery, to that sense of humour, and to the tragedy of unresolved stories.
The projections can be seen in many ways, and Vim is working on some of them at the moment. I would like to see more of that cropped tension; I would like to see him exploring it and hurting our need for comfort. It makes us reflect and avoid shallow exits.
CURRICULUM VITAE
Vim Vinwyn was born in Sydney, Australia. Lives and Works in London, UK. Parallel to his art practice, Vim runs a business on glass gilding and hand painted lettering.
Education
-2011-2013 Private Art History Instruction with Arthur Lawrence (trained at Columbia Univ. studied under Theodore Reff). Sydney, Australia.
-2013-2016 Apprentice to Sign Writing and lettering Studio of Cheryl Mclean. Sydney, Australia
Group Shows
-2013 Exhibition Edinburgh ‘Spruiked’ -pop up space west end. Edinburgh, Scotland
-2008 Adagio gallery ‘Parsifal’ Group exhibition. Sydney, Australia
-2007 Adagio gallery ‘Faces and Places’ group exhibition. Sydney, Australia
-2000-2006 “Glebe art show” 2000-2006. Sydney, Australia
Solo Exhibitions
-2015 Solo Show ESP Gallery Space. Sydney, Australia
Awards, Residences and Commissions
-2013 - Mural completed for La Petite Folie. Edinburgh, Scotland
-2012 Metro Gallery prize finalist. Sydney, Australia
-2008 Brett Whiteley scholarship. Sydney, Australia
John Huw Davies
One of the most complex artistic expressions is music, due to its abstract qualities and the fact that it lingers in your mind before it can be put on paper. Even when it is written down, it is done in a way that is legible only to those who can read music. Add to this the reality check that is its interpretation by a musician who can destroy, alter, or simply diminish it. Finding someone who can perform it correctly and make it shine is a challenge.
Music comes alive through its interpretation.
Considering all this, one asks: what happens when a musician brings that mindset and training to the service of the creation of art, specifically painting? There have been artists with a strong inclination to music who have tried to incorporate music into their canvases.
John Huw Davies has a very specific approach to music regarding how he intends to incorporate it into his two-dimensional work. He has been a musician for many years, and the realisation that he needed a more intimate medium to express himself led him to painting. But what does he want to communicate?
The answer I’ve got thanks to our chats is the emotion and harmony that music brings when thought of—when imagined. It is that emotion, aided by his specific painting technique and the application of Zen principles, that helps him to create each piece. Each piece becomes a projection of his mental/emotional state… is it the representation of music or the representation of the emotions that the imagining of music can trigger? I guess we will need to allow ourselves time to see which one we feel “sings” more to us… abstractionism is almost the default language of John’s ambition. There is still so much yet to be seen of what he hears in his mind. These current pieces will become preludes to his artistic symphony.
CURRICULUM VITAE
John Huw Davies is a British artist.
Education
-2025-2026 MA, Painting, Royal College of Art. London, UK
-2008-2009 MusM, Music Composition, University of Manchester. Manchester, UK
-2005-2008 BMus Undergraduate Degree, Music, University of Manchester. Manchester, UK
Group Shows
-2026 Once I Dreamt I Was Something Else, Qloud Collective, Amadeus Festival. Vienna, Austria
-2026 Soft Power, D Contemporary. London, UK
-2026 MA Painting Degree Show presenting installation Equaliser: 12 acoustically treated painting panels + quadrophonic composition for clarinet & wind chimes, Royal College of Art. London, UK
-2026 Shifting Realities, The Hockney Gallery. London, UK
-2026 Under The Appeal, The Hangar Gallery. London, UK
-2026 Unwired, Cut The Stem. London, UK
-2026 The Last Salon, The Old Waiting Room, Peckham. London, UK
-2025 Remind Me of My Senses, Hockney Gallery. London, UK
-2023 Summer Exhibition, Drifter Galleries. London, UK
-2023 London Electronic Arts Festival. Live painting performance. London, UK
-2022 Rebirth presenting live painting performance,, Take Courage Gallery. London, UK
-2022 Summer Exhibition presenting live improvised audio-visual painting performance alongside multi-instrumentalist Tudor Monroe, Drifter Galleries London, UK
-2022 This Little Drifter Went to Market, Drifter Galleries London, UK
Awards / Commissions
-2026 Winner, Leontia Gallery x ArtVox Award. London, UK
-2026 Finalist/Runner Up, D Contemporary Awards London, UK
-2026 Shortlist / Special Mention for Artistic Quality, CREA. Venice, Italy
-2024 Ten works for feature film Odyssey, dir. Gerard Johnson. London, UK
-2023 Four works for Pure Represents (live music agent) new offices. London, UK
Michelle Owen
When talking to Michelle, the artist, there are three aspects that define her artistic persona for me: Ireland, photography, and her love for the landscape. Of course, these terms are too general, but they are the right starting point if one wants to dive into the world of her artistic production.
Having a strong bond with Ireland, its unique landscape has seduced—and continues to seduce—Michelle in the production and imagining of her work. As she said, when she is in London, she needs to go back to Ireland to be fed by the presence of the land.
Photography was a way for her to record this environment, and the way she captured it showed signs of a pictorial eye. It was this realisation by a friend of hers that turned her interest towards painting, yet her loyalty to her favourite subject remains.
We think of Ireland as green, but there are so many dark colours acting as a background to that green. Michelle translates those natural surfaces into a gestural expression, showing their depth, their scars, and their intriguing, ancient beauty.
We are fortunate enough in the United Kingdom not to see dark colours as synonymous with darkness, but rather as part of our experience with nature, the seasons, time, and place. This perspective allows us to see the true beauty of these tones, and it is soothing that Michelle gives us this other aspect of nature’s reality.
It is very tempting to define her work as abstractionism, but that would not be fair or just. There is a gravitas in her gestures and in the atmosphere of the place that makes her paintings sit in an in-between space.
Michelle is also experimenting with other materials and elements that bring this representation into the realm of physical interaction between the landscape and the human experience it generates. Her work is morphing, yet its roots remain the same.
CURRICULUM VITAE
Michelle Owen, artist working between Ireland and the United Kingdom
Education
-2025- 2026 MA Painting Royal College of Art Recipient of Vice Chancellor’s Scholarship. London, UK
-2025 - 2026 2024: Professional Landscape Mentoring, Newlyn School of Art. Cornwall, UK
-2011 Post Graduate Diploma Art and Design Education, National College of Art. Dublin, Ireland
-1992 MA Multimedia Arts, Coventry University. 1990 BA (Hons) Fine Art (First) Sheffield Hallam University. Coventry, UK
Group Shows
-2026 Royal College of Art MA Painting Exhibition, Battersea. London, UK
-2026 Shifting Realities, Hockney Gallery, RCA Kensington. London, UK
-2026 Sustain Lab Exhibition, Hangar Gallery, Royal College of Art. London, UK
-2026 The Last Salon Exhibition, Peckham Rye Station. London, UK
-2024 Earthsea Exhibition, The Gardens Gallery. Cheltenham, UK
-2024 June, Contours Exhibition, Tremenheere Gallery. Cornwall, UK
-2023 Transience Exhibition, Dun Laoghaire Art Network. Dublin, Ireland
-2023 Newlyn exhibition, Chapel House, Penzance. Cornwall, UK
Awards / Residencies
-2025 Artist Residency, The Burren College of Art, County Clare, Ireland.
-2024 Artist Residency, Studio Panicale, Italy
-2023 Artist Residency, The Burren College of Art, County Clare, Ireland.
Artwork availability and private viewings
For availability, pricing, or a private viewing, send an enquiry and we will respond with the relevant information and a bank-transfer invoice where appropriate.