This publication presents a series of figurative watercolours by David Austen, one of the most consistent and inventive artists in a generation of British painters that came to prominence in the late '80s . Froth on the Daydream is a title derived from Boris Vian's 1947 novel, L'Écume des Jours . By no means illustrations of this surreal tale of l'amour fou , these extraordinary works are none the less informed by the spirit of the book that Austen first read 25 years ago as a student and which he has admired for its lucid strangeness ever since. Five vivid, vulnerable images from the series are reproduced as full-page colour plates, complemented by drawings and photographs from Austen's studio. The essay by Martin Holman offers a setting for them in the artist's practice, and relates the series to Austen's interest in the tensions that animate modern life.

The British abstract painter Danny Rolph has been an active figure on the contemporary art scene since the late 1990s. His paintings combine a surface vibrancy caused by bold colours, eclectic shapes and light-catching brush marks with a material complexity constructed with modernist techniques like collage and the choice of supports as different as canvas and lightweight plastic sheeting. Not only is collage carried out on the picture plane, it also extends to the physical make-up of the artwork when multiple layers of sheeting are sandwiched with marks and emblems on every surface, creating an ambiguous and dynamic impression of space within the image.

This book was published to accompany Rolph's exhibition at Milan's AR Contemporary Gallery. It illustrates every stage in his development since his graduation from London's Royal College of Art. An essay surveys the progress of an artist who has proposed new directions in British abstraction.

The first artist's book by Sara Mackillop, the British conceptual artist whose work has the knack of acutely observing the poetry and melancholy in overlooked details of the everyday. 50 Envelopes reproduces a sequence of works on paper derived from the background patterns in window envelopes.

This publication accompanies Mackillop's exhibition at Leicester City Art Gallery.

This monograph surveys the work and career of Terry Setch, a painter recognised in Britain and abroad as one of the most consistently radical artists of his generation. Setch has never ceased to experiment with new materials in order to achieve the surface interplay of light, colour, space and gesture that propels his picture-making. This experimenting has embraced constructing three-dimensional objects, the incorporation of found materials and detritus, mixing paints in unorthodox combinations, combining paint with print, using polypropylene sheets as a support, plastics, chalk dust, heat and corrosive fluids. The volatility in his technique embodies the unpredictable flux of material, imagery and interpretation that has characterised his work for over 30 years. In 2000 he began to use the internet extensively in his search for new readymade imagery.

This book looks at Setch in terms of the themes that have been sustained over sixty years and the qualities that have made him admired by several generations of British artists. It looks, too, at his contribution to art education in Britain, the start of which coincided with the integration of basic design into art-school practice. Colour plates will illustrate important work from that career and an essay by Martin Holman will provide a background from which Setch's tireless fascination with imagery can be assessed and interpreted. The book will also provide a chronology of his life and a comprehensive listing of exhibitions and publications.

Martin Holman