Self-Portrait as a Still-Life (Effigy) (h 210 x w 90 cm) 2015-17 Oil on Canvas
A painting that I worked on for over 2 years. I began with building a rudimentary wooden frame which I then pinned a still-life assemblage of my clothes onto. I was interested painting an image of this effigy-like construction as a form of self-portrait. The peripheries of the canvas were layered with liquid paint
in order too augment the nebulous quality of the image and is another example of my interest in distorting the boundaries of a picture plane.
Exhibited in Arcadecardiff 2017
Still-life Assemblage, View through Studio Window with Mirror Reflection (92.5 x 58 x 4.5 cm) 2017.
The second in a still life of clothes series I am undertaking. I have painted varying styles into one piece, keeping the top of the jeans a washed out blue monochrome , the reflection in the mirror has the roof tiles and chimney top in opaque pop art colours. The assemblage of varying canvas sizes aims to make the composition dynamic. The view through the window is a scene seen from my studio. The slither of background seen in the top left is intended to leave the viewer feeling curious and wanting more. I have used digital techniques to manipulate the image in the mirror reflection and mono-printed this back onto the canvas before adding oil paint on top.
Exhibited in The Glynn Vivian 2017
A Question of Nature (2014 - 2017) Oil and Paper on Canvas 210 x 90 cm
The Bacon inspired dog-form in the centre came from an experience I had in Kenya when I came across a dog that had been left out in a storm and was dying in front of me, urinating and terrified. The experience horrified and stuck with me, the image I felt embodied natures indifference and humanities effect on the environment and its other inhabitants.
The surrounding glossy tar-like black mass pulls at the scruff of the neck of the animal. Strange flames creep up as if seen through dirty glass and are shattered by an opening in the centre. A blue cloudy sky is seen in the distance with a path leading towards it. Sitting by this path is a ghost like figure referenced from William Blake's 'The Blasphemer' (1800). Arms tied behind it's back unable to walk towards the sanguine horizon.
Exhibited in Arcadecardiff 2017
Circulation (185 x 150 x 6 cm)
I intended to have the piece feel as if the canvas stretchers are rotating sliding around themselves.
I spent weeks painting in detail, and then obscuring it with thick glazes, allowing a hint of them to be seen of blocked them out entirely with architectural panes of opaque black gloss. The figure and the skeleton are entwined and light and dark is intended to dart from foreground to background. The contrasts and contradictions are an intended visual metaphor for the cyclical nature of being.
Exhibited in Arcadecardiff 2017
Growing Figure, Lioness, Screaming Cloud (2017) - 220 x 650 cm
A mural I recently painted on the side of my studio wall. I began with no visual preconceptions. Placing a bent leg into the form on the right brings out the otherwise unintentional figural shape. As with the rest of the image I intended it to feel as if it had grown out of the alchemical soup of paint. Images include hands, faces and hints of landscape lines.
Exhibited in Orchards St Elysium Open Studios 2017
Homo Sapiens (2014) Oil on Canvas. 136 x 155cm
The creation of humans from clay is a miraculous birth theme that recurs throughout world religions and mythologies. The hands moulding the clay are intended to seem as if they are manifesting from celestial configurations within a dark vacuum. Not completely formed and suggesting unknown possibilities. The artwork also refers to the debate between determinism and free will, the question of our responsibility as a species. The shapes the clay can be manipulated into are infinite. The transfusion between figuration and abstraction is designed to further amplify the atmosphere of ambivalence.
Exhibited in Colony Blast, Port Talbot 2015
Figure Lying on a Mountain-Scape, Acid Sky in the Distance 300 x 180 cm (2017) Oil on Canvas
A visual experiment, I was interested in creating a large painting that had the appearance of containing a polaroid border with a segment of the internal image extending out of the confines. I wanted to create an abstracted landscape at the bottom and in turn distort perspective with a large kneeling baconesque figure in the top right recession of the composition. As the eye moves to the top left I wanted the support the figure is placed upon to suggest a shelf-like structure. Underneath which and in the distance an acid green sky is inhabited by a couple of transparent cartoon clouds. The juxtapositioning of all these elements is meant to agitate the visceral aesthetics and lead the mind to question them.
Exhibited in Elysium 2017
Aberystwyth Amalgamation (Acrylic on Plaster Wall) 2013 - Still in Progress
The mural is an amalgamation of facets from the architecture, landscape and birdlife of Aberystwyth's coastline -fused with brightly coloured abstraction. The painting is broken into different perspective fields with highly saturated colours. The mural has changed dramatically over time and is still in progress, the bottom left area needs attention, as it is not yet balancing with the rest of the picture plane.
These 4 paintings are a selection from a series I made concerning my father and the illness he suffers from; Menieres disease. One of the significant symptoms of the Illness is it causes vertigo attacks. These attacks render my father incapacitated and as a result he has been out of work for almost 2 decades, most of my life. Through interviewing him on his experiences of these episodes and using abstract coloured drawings he has made -attempting to express the movements he feels- I have created my own response in these works. I have also referenced photographs of my father from his past before he contracted Menieres.
A selection from a series of works I made after returning from a volunteer work program in Kenya in 2010.
The first two images serve as painted visual documents of a celebration event in the forest.
The third is a piece displaying my first experimentations with beginning to abstract the portrait.
The fourth displays a ghostly image of a dog I saw dying hopelessly after being left out in a storm. I returned to the theme again elaborating it into notions of guilt and awareness of humanity's effect on the environment.
A UV mural painted in a communal Shower in The Happy Hippy Hostel in Bulgaria. The room includes 3 walls and a ceiling painted. Animals and figures inhabit a world of acid coloured painted mark-making.
Acacia Tree Mural
Made in Boutique hotel Termas Da Azenha in Portugal.
Mural made in Boutique hotel Termas Da Azenha in Portugal.