Broken Canvas, Reassembled Face (h 95 x w 120 x d 20 cm) 2017 Oil & Acrylic Paint, Canvas, Wood, Graphite, Paper
The piece originally began as a graphite drawing of a friend, over time I deconstructed the support, reassembling it into a canvas-made-sculpture ending with this assemblage. The entangled mess of broken and folded canvas stretchers behind enforce the dismantled feeling into 3 dimensions but contrast the carefully drawn portrait in the foreground.
Exhibited in Arcadecardiff 2017
Hemispheres (h 200 x w 85 x d 60 cm) 2016
The artwork plays with the notion of duality inherent in the creative process. The spinning centre piece with the concentric rings depicts a face on the front, a burning car on the right and a person folding clothes in a banal manner on the left, the back of the head seen on the back part of the spinning centre piece.
This centre piece hangs from a coat hanger. On the four sides of the base of the assemblage are sponge scourers within Baroquesque frames, celebrating the banal and referencing the depiction of the woman folding clothes on the centre piece and the left more rational hemisphere. Contrasting with this is charred appearance of the structure, alluding to the depiction of the car on fire on the centre piece and the right more emotional and creative hemisphere.
The artwork is an expression of our inability to be completely free from any one side and the constant battle that ensues because of it in our day to day lives.
Exhibited as part of BEEP, Arcadecardiff 2017
Supernova Version II, Moving Matter Two Dimensions into Three. 2016
The second state of three this artwork took form in.
Here we see a supernova exploding from 2 to 3 dimensions. The painting itself is painted with a sense of the organic yet the sculptural cut-out section is jagged and designed redolent of comic book kapow's etc. The very centre of the root of the explosion is dark, referencing the connection between supernovae and black-holes -destruction within creation.
Exhibited in Swansea Grand Theatre Arts Wing 2016
Figure Sitting, Floating Orb in the Distance (90 x 100 cm)
Made from pieces of three previous paintings, a rotating block like collage in the centre gives way to splashed paint and a painted section on the wall itself creating the sense of rotation around the blue planetary orb in the distance. The tiny outreaching figure sitting upon one of the blocks pulls the viewer into the nebulous space created.
Exhibited in Arcadecardiff 2017
Idiosyncratic Orbit (2017) h 30 x w 38 x d 15 cm (Oil, Ink, Paper, Wood, Canvas, Electric Motor, Toy Hamster, Toy Figure)
A collaboration with Laura Simmons.
For an exhibition in Elysium gallery concerning the afterlife we created a work that humorously played with the notion of the wheel of rebirth. A concept in Buddhism where the goal is to exit the wheel of rebirth and in doing so escape suffering. On the interior of the cylindrical part a frieze is displayed showing a cycle of a dysfunctional life, from the sperm, through to underage drinking, eviction, eventual enlightenment then suicide in the belief that she will exit the wheel, only to return to it indefinitely. The realisation of the wheel has taken the form of a hamster wheel, complete with anthropomorphised hamster gliding above the spinning circle in front of an abstracted screaming face.
Exhibited in Elysium 'The End is by Yur' show 2017
Idiosyncratic Orbit (video of the frieze in motion)
A video of the frieze in rotation.
Displaying sperm, foetus, crying child, delinquent teenager, working an office job handing an eviction notice to her older self with the grave of her recently deceased wife in the background. To achieving enlightenment and eventual suicide, the flail of the rope swings suggestively towards the tail of the next sperm, thus renewing the cycle once more.
Paint, Mopping Marigolds
Using painting and sculpture Eifion has created a playful set of assemblages concerning his time as a cleaner in Swansea's Grand Theatre. Elements of the tools he used in this role including j-cloths and mop-heads have sneaked into the otherwise painterly dominated configurations. The artworks are partial abstractions filtered through the artists mind rather than being literal representations of the tools and setting of the workplace. For instance the gold elements reference cleaning the brass, blue the water used and the yellow alludes to marigold gloves.
Eifion felt it relevant to exhibit the art in the place of work from where the ideas had originally sprung. The palette has lightened and he has formulated contour designs in wood to paint and collage his visual schemes upon. At a new turning point in his work Eifion has shed some of the conceptually heavy motifs previously employed and turned to lighter considerations albeit with no less dedication to its production.
Eifion feels that the role of the cleaner is often overlooked and taken for granted yet it fulfils a fundamental purpose that is vital to any kind of building’s day-to-day functionality. He hopes to shed some light on the practical experiences and act of cleaning itself expressed through his own peculiar artistic lens.