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Blanca Amorós was born in Elche in Spain in 1990 and now lives in Vienna. She studied art in Munich, Vienna and Valencia, where she obtained the Facultad de Bellas Artes’ Award in 2013. She graduated from the Akademie der Bildenden Künste Munich in 2018. Her work has been exhibited in Belgium, Spain, Germany, Austria, South Africa and Taiwan. In 2015 she won the Nazarte Award in Valencia, and in 2019 she won the Fischer/Collegen Kunstpreis Special Prize in Stuttgart.
Amorós will receive €1,000 and her paintings will appear in the winter issue of The Moth.

'I consider the artists who have won The Moth Art Prize to date to be exceptional painters. It is a real honour to be part of this group and I am truly grateful.’ Blanca Amorós


Christy Burdock is an English artist. She is a graduate of Central St Martins School of Art and the Royal College of Art. She is the recipient of many prizes and her work has been exhibited widely in the UK, including two solo shows in London in 2018 and 2020.
Komachi Goto is aa Japanese artist based in Edinburgh. She has lived in the UK since 1987. When she first arrived, she couldn’t speak English. Consequently, drawing and painting became her language, a way that she could communicate more easily.
Sally Roberts is an emerging artist who works primarily in oils and is based in Lancashire, England. She paints portraits usually of women from the perspective of a female artist, using traditional techniques to represent the modern world. The artistic tradition comes into tension with her own womanhood and female gaze.

Tess Glen is Scottish artist. Since graduating with a BA in Painting from Edinburgh College of Art, Tess has studied on The Drawing Year at The Royal Drawing School and has exhibited at the Royal Scottish Academy, Christie’s and recently had her first solo show ‘Worship in the Neighbour’s House’ at Six Foot Gallery in Glasgow. 
Sophie Herxheimer is an artist and poet. She’s held residencies for The Museum of Liverpool and Transport for London, among others. Her work has been shown at her local allotments, Tate Modern and on a giant mural along the seafront at Margate. Her collection Velkom to Inklandt was a Poetry Book of the Month in the Observer and a Sunday Times Book of the Year. Her book 60 Lovers to Make and Do, was a TLS Book of the Year. 
Uzma Sultan was born in Pakistan and lives and works in London. She studied at the Slade School of Fine Art and graduated with an MFA in 1999. She also paints in Berlin and has had exhibitions both in UK and Germany, as well as her native Pakistan.


The prize is judged annually by the publishers of The Moth, Rebecca O’Connor and Will Govan. They are looking for two-dimensional portraiture, figurative or other representational work of any size – work that is courageous and bold and is in tune with the aesthetic of The Moth, contemporary but timeless. 

Work should be submitted for consideration in the form of good quality digital images suitable for print to mothartprize@themothmagazine.com.

The closing date each year is 31 August. The 2022 prize will open in April. 

‘Being selected for The Moth Art Prize was a real surprise. I am particularly delighted to have my recent paintings featured in The Moth – a prestigious honour, given the standard of work curated in the magazine.’ Craigie Harper
‘I am very honoured to receive The Moth Art Prize. It feels pretty rare to be acknowledged for what I can paint, rather than what statement I can write. The Moth Art Prize is very much an artist’s art prize.’ Geraldine Swayne
‘I’m over the moon about winning The Moth Art Prize. The Moth has always been brilliantly curated, with exquisite artwork and thoughtful writing throughout.’ Gregory Mortenson
‘I am so grateful to the folks at The Moth for awarding me this prize. I think getting out of New York for a bit will be healthy. It will be an amazing and much-needed time to regroup, reflect on my work and tinker with some new ideas.’ Bradley Wood

‘A lot of credit should go to The Moth, always wonderfully idiosyncratic and beautifully designed, for launching the prize and responding to figurative painting, largely ignored by the contemporary art scene. We have nothing like it in the UK.’ David Piddock