New Painting: Seated Nude IV

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Seated Nude IV (Acrylic on Canvas 40cm x 50cm)

This is a painting of a seated nude in acrylic on canvas and is based on a (very rough/experimental!) life drawing sketch, which I’ve appended below, in case it’s of interest.

It’s part of a continuing series in which I’m investigating how far it’s possible to push the use of flat colour and interlocking shapes to represent the planes of the human figure in space whilst balancing figuration and abstraction.

Seated Nude IV study (acrylic on paper 42cm x 60cm)

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New Drawing: The Shadow He Pursues

The-Shadow-He-Pursues

The Shadow He Pursues (Charcoal and Gesso on Canvas Board 60cm x 60cm)

This was the third and final submission to the Kyffin Williams Drawing Prize to be held at the Oriel, and I’m pleased to say that this piece was accepted!

It was inspired by reading Sir Kyffin’s anecdote from his book, ‘A Wider Sky’, as quoted by Andrew Green in his lecture of 2016:

One summer evening, not long after I arrived at Pwllfanogl, a friend came to visit me with his small son aged five. As we stood at the water’s edge, with gentle waves breaking at our feet, the little boy looked up at me:

‘What will happen to you when you die?’ he asked with a look of concern on his face. I knew I had to answer with a confidence I did not possess.

‘Oh, it will be wonderful,’ I said. ‘I shall slip into the sea and be swept away by the water, and I shall be carried under the bridges and away to Penmon and the open sea. Oh, yes, it will be rather wonderful.’

As he listened to me the worry seemed to disappear from his face and he ran off to throw stones into the waters that were to carry me away …

This was such a beautiful story and conjured up such a wonderful image of hope in the face of the inevitability of death.

It also brought to mind a vision of Sir Kyffin standing on the shore of the Menai Straits on his beloved Anglesey and staring at the other love of his life, Snowdonia. Snowdon itself appears in outline in my drawing, and this seemed apt since I’m led to believe that Yr Wyddfa translates as ‘The Tomb’, although I’ve been unable to confirm it with Welsh speaking friends.

In one of his talks, Sir Kyffin also spoke about his encounters with a Brocken Spectre, something with which the hill farmers he so often portrayed would have been familiar, so I’ve incorporated it into the drawing as well as making reference to it with the title, taken from the final line of Samuel Taylor Coleridge‘s poem “Constancy to an Ideal Object”:

And art thou nothing? Such thou art, as when
The woodman winding westward up the glen
At wintry dawn, where o’er the sheep-track’s maze
The viewless snow-mist weaves a glist’ning haze,
Sees full before him, gliding without tread,
An image with a glory round its head;
The enamoured rustic worships its fair hues,
Nor knows he makes the shadow he pursues!

As with the other pieces in the series, I’ve attempted to draw wider parallels within this submission by metamorphosing the shadow/Brocken Spectre into the silhouette of the Rev. Michael D. Jones, who was the visionary who “proposed setting up a Welsh-speaking colony away from the influence of the English language“, which led to the creation of the Welsh enclave, Yr Wladfa (The Colony) in Patagonia, Argentina.

In making this allusion, I was trying to suggest that, whilst death comes to us all, you can’t kill an idea, especially when they are passed on one from one generation to the next.


The series of three drawings is intended to pay homage to the life of Sir Kyffin Williams in this, the centenary of his birth, and they were inspired by reading numerous articles, writings and speeches by and about him. Any historical or interpretive inaccuracies are entirely my own!

The full list of drawings submitted to the competition is as follows:

  1. This Be The Verse
  2. Milltir Sgwar
  3. The Shadow He Pursues

The Kyffin Williams Drawing Prize “was founded in 2009 by the Kyffin Williams Trust and Oriel Môn; and works in partnership with the National Museum Wales, Cardiff and the National Library of Wales, Aberystwyth. The competition – which is held every three years – aims to promote and reward excellence and talent in drawing practice across Wales. It also serves as a tribute to the support Kyffin Williams gave to aspiring artists and the value he placed on drawing skills throughout his career.”

Links:

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New Drawing: Milltir Sgwar

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Milltir Sgwar (Water soluble Graphite & Gesso on Canvas Board 60cm x 60cm)

This was the second of my three submissions to the Kyffin Williams Drawing Prize to be held at the Oriel (although this one also wasn’t accepted).

This piece was inspired by Andrew Green’s description in the Kyffin Williams Annual Lecture he gave in 2016 of Anglesey as Sir Kyffin’s ‘Milltir Sgwar’ or ‘Square Mile’ in English, which I believe loosely translates as ‘his patch’.

Whilst mulling this phrase over, together with the image of the map of Anglesey, I was reminded of the late Paul Davies, the sculptor tutor on the Art Foundation Course I attended at Coleg Menai in the 80s. During sessions in his classes we occasionally caught sight of Paul working on his Mappa Mundi series of works, which he produced based on the map of Wales and made out of mixed media and found objects (I think).

It was whilst googling Paul’s name last year that I first encountered the story of his ‘Welsh Not’ protest at the 1977 Eisteddfod and the incredibly iconic photo that captures it so vividly, in which Paul is seen in almost crucifixion-like pose.

What made the image even more pertinent to me is that during my brief time studying under Paul, he encouraged (and actively helped) me to produce a life-sized Christ figure out of old car exhaust pipes which carried a huge wooden railway sleeper across its shoulders. Looking back, the finished piece must have had real resonance for Paul of which I certainly wasn’t aware at the time. (As a side note, I believe that the exhaust pipe sculpture ended up in the garden of an old people’s home, where it must have frightened the living daylights out of the residents!)

Having discovered Paul’s political activism and his founding of the Beca group of artists in response to the lack of support for the Welsh arts at that time, I read about the post-colonial work of Iwan Bala (such as Cymru Ewropa and Mapostan) which led me onto the work by Joaquim Torres-García, in one of which he presented an upturned map of South America.

Given the highly charged political events currently under way, and a recent attempt to restrict the use of Welsh in the workplace, I felt it wasn’t too unreasonable to use this piece to point out that ideas of nationhood and culture are being turned on their head.

Paul Davies later carved his WN sleeper into a Welsh Love Spoon, hence its inclusion in This Be The Verse.


The series of three drawings is intended to pay homage to the life of Sir Kyffin Williams in this, the centenary of his birth, and they were inspired by reading numerous articles, writings and speeches by and about him. Any historical or interpretive inaccuracies are entirely my own!

The full list of drawings submitted to the competition is as follows:

  1. This Be The Verse
  2. Milltir Sgwar
  3. The Shadow He Pursues

The Kyffin Williams Drawing Prize “was founded in 2009 by the Kyffin Williams Trust and Oriel Môn; and works in partnership with the National Museum Wales, Cardiff and the National Library of Wales, Aberystwyth. The competition – which is held every three years – aims to promote and reward excellence and talent in drawing practice across Wales. It also serves as a tribute to the support Kyffin Williams gave to aspiring artists and the value he placed on drawing skills throughout his career.”

Links:

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New Drawing: This Be The Verse

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This Be The Verse

This Be The Verse (Pen & Ink & Gesso on Canvas Board 60cm x 60cm)

This was the first of my three submissions to the Kyffin Williams Drawing Prize to be held at the Oriel (although this one wasn’t accepted).

This piece is named after a famous poem by Philip Larkin (contains rude word) and is intended to hint at the difficult relationship Sir Kyffin had with his mother, as she herself did with her father before.

It makes reference to, both his mother’s reaction to being presented with Sir Kyffin’s first attempt at art, a painting of his brother on the potty, for which she beat him, and also to his grandfather’s response to Kyffin’s mother’s birth, since his grandfather seemed more interested in recording the weather in his diary (I originally intended to title this drawing ‘Weather: Showery’).

It also attempts to draw parallels with the ‘relationship’ between Wales and England, and was inspired in part by learning about the Welsh Not punishment meted out in some schools in order to dissuade children from speaking Welsh. From my limited reading on the subject, it seems that, although this was never official policy, it would not have been successful without the support of families. Certainly, it seems that Sir Kyffin was banned by his mother from speaking Welsh in the house; something which he regarded as ‘brainwashing‘.

The Welsh Love Spoon held by the mother figure has relevance to the next piece!


The series of three drawings is intended to pay homage to the life of Sir Kyffin Williams in this, the centenary of his birth, and they were inspired by reading numerous articles, writings and speeches by and about him. Any historical or interpretive inaccuracies are entirely my own!

  1. This Be The Verse
  2. Milltir Sgwar
  3. The Shadow He Pursues

The Kyffin Williams Drawing Prize “was founded in 2009 by the Kyffin Williams Trust and Oriel Môn; and works in partnership with the National Museum Wales, Cardiff and the National Library of Wales, Aberystwyth. The competition – which is held every three years – aims to promote and reward excellence and talent in drawing practice across Wales. It also serves as a tribute to the support Kyffin Williams gave to aspiring artists and the value he placed on drawing skills throughout his career.”

Links:

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New Painting: Seated Nude III

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Seated Nude III (Acrylic on MDF 61cm x 92cm)

This is a painting of a seated male nude, which was developed from a study produced during a life drawing class from 2015.

It’s part of a continuing series in which I’m investigating how far it’s possible to push the use of flat colour and interlocking shapes to represent the planes of the human figure in space whilst balancing figuration and abstraction.

Whilst painting it I was thinking of the work of the American Pop Artist, Tom Wesselmann.

I’ve included the original life drawing sketch on which it was based below, just in case it’s of interest.

Life Drawing Study 20150121

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Portrait Practice 17/04/2018

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Portrait Practice (Acrylic on Board 61cm x 51cm 5 hours)

This is another portrait of Paul Jennings painted in Acrylic on Board (61cm x 51cm over approx 5 hours. I used a new lighting setup using three separate LED light strips on the subject, palette and canvas in an attempt to ensure a consistent colour temperature (see picture below). They are probably a bit too cool (being 6500K), but they certainly made for a pleasant painting environment.

Studio Lighting Experiment

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