Artworks

2025

Sugar, royal icing on wood

50 x 45 cm

Semi-domesticated Poodle is a mosaic made of hand-cut sugar glass. Alongside her sugar work, a reactive poodle came into the artist’s life, deemed ‘the worst dog in 40 years’ by canine behaviourists. Using reimagined artifact and drawing on historical narratives Lloyd playfully questions where our behavioural instincts come from. She often likens her process to taming a wild animal as the sugar’s reactive quality can produce unpredictable, tragic, and unexpectantly beautiful effects. Her mosaic Semi-domesticated Poodle is a painstaking piecing together of fragile material, full of behind-the-scene failures as an ode to the artist’s dog and the unlikely bond between them.

Sophie makes expressive and stylised sugar sculptures. With fixed open mouths, candy colours and sickly sweet material, these figures evoke both gluttony and the uncanny.

Care instructions:

This piece is made from sugar and therefore sensitive to its environment and any reactions taking place aligns with the intentions of the work. To maximise its lifetime, avoid sources of heat and humid environments. This artwork contains lead and so should not be eaten despite its sugar content. Always wash hands after handling this work and gloves are recommended. It should not be handled by children.

lnclusive of VAT. If exempt, please contact bandits@sarabandefoundation.org  

2024

Oil and dry pigment on canvas

160 x 225 cm

Inclusive of VAT, if exempt please contact bandits@sarabandefoundation.org

2025

24 x 16 x 2.5 cm

Taxidermy octopus, glass, resin

A micro, mummified, crystallised octopus housed in a hand-made glass box on a resin base. Each piece is unique so please allow for small variations. The use of organic materials and the mummification process means no piece will look exactly the same.

Harriet is a self-taught taxidermist, using dyes and lighting to deliver a playful narrative in a medium that can sometimes hold a macabre association. The juxtaposition of organic material with neon lighting has become Harriet’s signature. 

lnclusive of VAT. If exempt, please contact bandits@sarabandefoundation.org

2025

Stoneware, saggar and barrel fired with natural inclusions

H 18 x W 16 x D 13.5 cm

Drawing on her Irish heritage and the archetype of the Sheela na-gig, Adele Brydge's series, A Thousand Different Women, reclaims the void as a space of wild, unapologetic feminine power. The Sheela na-gig, with her exposed vulva and steady gaze, embodies the untamed, erotic, and sometimes uncomfortable sides of the feminine. She acts as a portal, inviting us to honour our shadows and reclaim what has been hidden or shamed.

This series explores liminality, cycles, and the transformative power of fire, with each work reflecting turning points and peaks of the seasons. Vessels are fired using primitive saggar and barrel techniques, and their visceral surface patina is created through the burning of deeply personal and organic materials; menstrual blood, hair, nails, and seasonal offerings. These materials speak to cycles of decay, renewal, and the sacredness of what is often taboo or cast aside. Here, the void is not emptiness, but a threshold full of potential, mystery, and becoming, and the surface evokes the scars, growth, and experiences that shape and make us.

Lúnasa honours the height of summer and the first gathering of the harvest. Coloured by offerings and energies gathered under the season’s full light, it carries the warmth, vitality, and ripeness of this time. It celebrates the generosity of the earth, the pulse of creation, and the pleasure found in fullness before the turning begins.

Inclusive of VAT, if exempt please contact bandits@sarabandefoundation.org

2025

Wood, mixed textile, sand, varnish, foam

60 x 40 x 30 cm

Due to artwork size, shipping may incur additional charges. Please contact bandits@sarabandefoundation for more information.

Inclusive of VAT, if exempt please contact bandits@sarabandefoundation.org

2024

Wood, glass, animal bone, animal teeth, brass wire

Original (1 of 1)

34 x 25 x 15 cm

Inclusive of VAT, if exempt please contact bandits@sarabandefoundation.org

2025

Ceramic Sculpture with Glazed Print

2025

Alabaster Stone 

3.6 x 4.2 x 1.3 cm 

Keys from Home is a collection of hand-carved alabaster keys. The work began from one of Yijia's earliest memories of home: her father always carried a small pouch of keys in his pocket, and as a child she believed he could open any door in the world with them. Over time, many of those places disappeared, demolished and erased through the processes of urban redevelopment.

By carving keys from alabaster, Yijia tries to conserve the memory of those places in a material that resists time. These keys no longer function, their forms altered and defunctionalised, echoing the inaccessibility of the spaces and memories they once promised to unlock.

Inclusive of VAT, if exempt please contact bandits@sarabandefoundation.org.

2025

Alabaster Stone 

8.6 x 3 x 2.2 cm 

Keys from Home is a collection of hand-carved alabaster keys. The work began from one of Yijia's earliest memories of home: her father always carried a small pouch of keys in his pocket, and as a child she believed he could open any door in the world with them. Over time, many of those places disappeared, demolished and erased through the processes of urban redevelopment.

By carving keys from alabaster, Yijia tries to conserve the memory of those places in a material that resists time. These keys no longer function, their forms altered and defunctionalised, echoing the inaccessibility of the spaces and memories they once promised to unlock.

Inclusive of VAT, if exempt please contact bandits@sarabandefoundation.org.

2025

Alabaster Stone 

7.5 x 2.5 x 2 cm 

Keys from Home is a collection of hand-carved alabaster keys. The work began from one of Yijia's earliest memories of home: her father always carried a small pouch of keys in his pocket, and as a child she believed he could open any door in the world with them. Over time, many of those places disappeared, demolished and erased through the processes of urban redevelopment.

By carving keys from alabaster, Yijia tries to conserve the memory of those places in a material that resists time. These keys no longer function, their forms altered and defunctionalised, echoing the inaccessibility of the spaces and memories they once promised to unlock.

Inclusive of VAT, if exempt please contact bandits@sarabandefoundation.org.

2025

Alabaster Stone 

6.2 x 3 x 2.2 cm

Keys from Home is a collection of hand-carved alabaster keys. The work began from one of Yijia's earliest memories of home: her father always carried a small pouch of keys in his pocket, and as a child she believed he could open any door in the world with them. Over time, many of those places disappeared, demolished and erased through the processes of urban redevelopment.

By carving keys from alabaster, Yijia tries to conserve the memory of those places in a material that resists time. These keys no longer function, their forms altered and defunctionalised, echoing the inaccessibility of the spaces and memories they once promised to unlock.

Inclusive of VAT, if exempt please contact bandits@sarabandefoundation.org.

2025

Alabaster Stone 

6.5 x 3 x 1.5 cm

Keys from Home is a collection of hand-carved alabaster keys. The work began from one of Yijia's earliest memories of home: her father always carried a small pouch of keys in his pocket, and as a child she believed he could open any door in the world with them. Over time, many of those places disappeared, demolished and erased through the processes of urban redevelopment.

By carving keys from alabaster, Yijia tries to conserve the memory of those places in a material that resists time. These keys no longer function, their forms altered and defunctionalised, echoing the inaccessibility of the spaces and memories they once promised to unlock.

Inclusive of VAT, if exempt please contact bandits@sarabandefoundation.org.

2025

Alabaster Stone 

6 x 2.7 x 1.2 cm

Keys from Home is a collection of hand-carved alabaster keys. The work began from one of Yijia's earliest memories of home: her father always carried a small pouch of keys in his pocket, and as a child she believed he could open any door in the world with them. Over time, many of those places disappeared, demolished and erased through the processes of urban redevelopment.

By carving keys from alabaster, Yijia tries to conserve the memory of those places in a material that resists time. These keys no longer function, their forms altered and defunctionalised, echoing the inaccessibility of the spaces and memories they once promised to unlock.

Inclusive of VAT, if exempt please contact bandits@sarabandefoundation.org.

2025

Pastel, pencil on paper

204 x 66.5 x 5 cm

The piece explores the tension between natural and synthetic forms and how our portrayal of the human body has warped over time. By using pastel, Tom is able to capture "digital light" through drawing which allows him to invert shadows and explore the contours of the body in a more fluid way. 

Due to artwork size, shipping will incur additional charges. For more information please contact bandits@sarabandefoundation.org

Inclusive of VAT, if exempt please contact bandits@sarabandefoundation.org

Representing Art, Jewellery, Fashion and Film, these unique plates have been designed by leading figures Tim Burton, Alexander McQueen, Daniel Roseberry for Schiaparelli, Sir Ridley Scott, Francesca Amfitheatrof & Jake Chapman

28cm diameter

Fine Bone China, Limited Edition Plates. Handmade in Staffordshire, England by Duchess China 1888.

Also available as part of a full set of six

lnclusive of VAT. If exempt, please contact bandits@sarabandefoundation.org 

2025

Glass beads, cotton

This textile work forms part of an ongoing project which platforms the contribution of craftswomen to the NASA Apollo missions, through the hand-weaving of Core Rope Computer Memory Modules.

‘Mary’ weaves and encodes the memory of Mary Julian through binary beading, reading: ‘Mary Julian crafts woven moon memories’.

The module was hand-woven using a frame loom beading technique to reflect the intricate binary patterns of the modules themselves. The colours are drawn from vintage computer manuals and control rooms as shown through early iterations of yarn windings. 

Inclusive of VAT, if exempt please contact bandits@sarabandefoundation.org

Photo: Rene Lazovy

2025

Jesmonite and acrylic, stained oak frame 

Framed 12.5 x 15 x 3.5 cm, Unframed 8.5 x 11 x 1.5 cm

Edition of 10

Please note, faces vary depending on edition

In this series, slices of white bread are torn into rough, cartoonish faces—nostalgic and a bit silly. Cast in Jesmonite and hand-painted, they become uncanny replicas: soft turned solid, something edible—or disposable—made to last. The gesture recalls childhood games—playing with food, making characters—but also speaks to procrastination and daydreaming. There’s a quiet humour here, but also a kind of sincerity. A torn piece of bread becomes a portrait; a snack becomes a stand-in for memory, mischief, and the urge to make something out of nothing. As in much of Lucy's work, the everyday is carefully remade in alternate materials. These bread faces sit on the edge of real and replica.

Framed version approximately 2-3 weeks lead time.

Inclusive of VAT, if exempt please contact bandits@sarabandefoundation.org

Photo: Rene Lazovy