Tania Skeaping

Education

2021-2026 Turps Correspondence Course

1992-1995 Visual Studies and History of Art, Oxford Brookes University, Joint Hons

Exhibitions

2026

Sidney Nolan Trust, Sidney Nolan Art Prize, The Rodd, Herefordshire.

A Beach Scene, Blue Door Gallery, Martha's Vineyard.

Thinking of a Place, Blue Door Gallery, Brooklyn.

Memento Amoris, The Lido Stores, Margate.

The Irving Gallery Open, Oxford.

Paintingsince2000 Open call, online.

2025

Artists of Fame and of Promise – The Summer Show, David Messum Fine Art, London.

Summer Exhibition, Royal Academy London.

2024

BEEP Painting Biennial, Swansea.

A Room of One's Own, Irving Contemporary Oxford.

2023

The Ingram Prize, Finalist, Pavilion Gallery, Cromwell Place, London.

Do Not Swallow, Safehouse galleries 1 & 2, Peckham.

2022

Catalyst, Oriel Canfas, Cardiff (group)

Summer Exhibition, Royal Academy, London.

A Room of Her Own, Group Exhibition, online Irving Contemporary, Oxford (group)

2021

Contemporary British Painting Prize, long listed.

2018

Wells Art Contemporary, Wells, Somerset (group)


Tania Skeaping’s work is about shared spaces. She grew up in rural England and was aware of sharing the land with other species of flora and fauna. Having freedom to roam she had encounters with birds, farm animals, dogs, cats, rats, insects and parasites, as they crossed each other's spaces. She observed the constant ebbing and flowing of the seasons and growth as farmers re-drew their boundary hedges and the edges of sowed fields and then nature redrew hers. This is a tiny echo of the much bigger processes going on worldwide.

As a young adult, after a decade living in cities, she returned to rural living and saw anew the spaces and the things she had taken for granted as a child. She is inquisitive about this relationship between the domestic, the tame and the wild, and about how other artists and craftspeople have described it in their work. By placing the non-human in an unexpected position within a composition her intention is to flip the old adage ‘out of sight, out of mind’. To extend that feeling of the unexpected she uses colour and brush work to create a sense of the uncanny or strange.