The British artist, Derek Jarman holds a special interest and affection for me. This picture, Imperial Dreams Material Nightmares, 1988, illustrates the way in which Jarman tried to deal with his heritage and belief system through his art. Jarman was not content to be a static artist, and also made films. He looked at the hypocrisies and discontinuities of the British canon.

This is an example of what I term as a 'twittering machine'. It is in fact called, ºAus der Reliquienwerkstattº, and it is by Andreas Tschinkl of Cologne.  Andreas has demonstrated the way in which art may explore the ironic and dysfunctional side of machines, even though we live in a world of powerful and faultless automata.

This is a false face from Central Africa, (1925). It is an example of how and why art does not have to be restricted to two dimensions, but may be an addition to the human form. As the art world now explores such a proposition, many of the tribal and primitive elements of art are being renewed.

The celebrated Italian artist Modigliani (1884-1920),  was part of the primitive resurgence. This picture, Antonia, 1915, has an extended neck and flat perspective. This echoes the influence of African art that swept across early 20th century Europe. Modigliani captured this mood elegantly.