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We have a whole new collection of paintings by Sarah J. Stanley, a Glasgow-based artist whose work explores themes of religious dogma and subservience. Blocks, bricks, grids, ladders, and stairs are commonplace in Stanley's painterly lexicon. They form boundaries, pathways and even cages, evoking ideas of confinement and coercion- a feeling known only too well by Stanley. She grew up in a family of Christian fundamentalists. Extreme and cult-like, with no time for anything but Church and bible studies, her childhood was void of play and deviance.

In the spotlight this month, we have Iranian artist Elham Hemmat who shares with us her love of ceramics, her many lines of influence and her belief that art is not just a means to challenge ideas but hopefully affect change.

We are delighted to present new work by multi-award-winning artist Patricia Paolozzi Cain. Based in rural Dumfries and Galloway, Patricia Paolozzi Cain's often large-scale works of art form an active and shaping force that exists between the artist and her physical environment. Tangled tree branches, dense hedgerows, a fusion of fallen leaves, sedges and thickets are the preamble to Paolozzi Cain's abstracted compositions. Getting lost in nature's cosmos is for Paolozzi Cain a means to look inward, to introspect. In her own words, she says, "I focus on nature as a gateway to the internal mind." Using a process of intense scrutiny, where she transposes and edits what she sees before her, Paolozzi Cain turns observations into a rich, meditative language that is as much rooted in place as it is in consciousness.

Broth Art has several artists on its roster that use the medium of collage. Individually and collectively, their practice shows the multiplicity of cutting and pasting as both a technique and aesthetic. To discover just how diverse the artform really is, we look at the history of collage, the 20^th century movements that pioneered it, and why it continues to excite artists and collectors alike. 

Lucy Gray has a degree in Fine Art Sculpture from Central Saint Martins, London. Informed by the lochs, mountains, and woodland of Scotland's West Coast, Gray draws from both the physicality and the emotiveness of her surroundings. Synthesising the many textures and shapes that make up the landscape with thoughts and feelings generated while immersed in it, Gray's sculpture is a poetic parlance between the artist and the land.