The vast majority of portrait galleries and portrait prizes mandate as a condition of entry, that the artist must work directly from the sitter for at least one session in order to paint a legitimate portrait. Many of these conditions are still criteria in the digital 21st century. Yet, in 2012 the National Portrait Gallery, London, seemed to over-ride its own criteria by hanging a portrait of singer Amy Winehouse, painted by Marlene Dumas. The portrait was made after the death of Winehouse whom Dumas had never met and worked from multiple downloaded images from the internet. Examples abound of many painters who have made portraits (Bacon, Richter, Tuymans), who preferred to work from photography and away from the 'sitter', whom they may or may not know personally - or have never even met. Is there a discernible difference between portraits made from second-hand imagery and those where the artist has a personal, sometimes intimate relationship with the sitter and has painted directly from them? What does 'working from life' achieve that any other method can not? This exhibition of paintings and installation pieces about portraiture was produced by Andy Collis as practice-led PhD research, informing responses to questions raised in his thesis titled, "What is the value of the artist/sitter relationship to contemporary portrait painting?" Exhibition dates: 27 March to 13 April. Gallery hours Wed-Sat 12-6pm.