Gallery
FRAGMENT LXIII
Fragment LXII
Fragment LXI
Fragment LX
Psyche XV
Psyche XIV
Psyche XIII
“Psyche XII”
“Psyche XI”
“Psyche X”
“Psyche IX”
Maquette for “Psyche VIII”
Psyche VII
Psyche VI
Psyche V
Psyche IV
Psyche III
Psyche II
Psyche I
Fragment LIX
Fragment LVIII
Fragment LVII
Fragment LVI
Study for a Fragment VIII
Study for a Fragment VII
Study for a Fragment VI
Study for a Fragment V
Fragment LIII
Fragment LV
Fragment LIV
Fragment LII
Fragment LI
Study for a Fragment IV
Fragment L
Study for a Fragment III
Study for A Fragment II
Fragment XLIX
Study for a Fragment I (Third State)
Fragment XLVIII
Fragment XLVII
Fragment XLVI
Cast XXXIX
Cast XXXVII
Cast XXXIV
Fragment XLV
Cast XXXI
Cast XXIX
Cast XXIII
Fragment XLIV
Fragment XLIII
Fragment XLII
Cast XVIII
Cast XVII
Cast XIII
Cast XII
Fragment XLI
Fragment XL
Fragment XXXIX
Fragment XXXVIII
Fragment XXXVI
Cast IX
Cast VII
Fragment XXXV
Fragment XXXIV
Cast V
Fragment XXXIII
Fragment XXXII
Cast I
Fragment XXXI
Fragment XXX
Fragment XXIX
Fragment XXVIII
Fragment XXVII
Fragment XXVI
Fragment XXIV
Fragment XXII
Fragment XXI
Fragment XX
Fragment XIX
Fragment XVIII
Fragment XVII
Fragment XV
Fragment XIV
Fragment XIII
Fragment XII
Fragment XI
Fragment X
Fragment VII
Fragment VI
Fragment V
Fragment IV
Fragment III
Fragment II
Fragment I
Liz?
Charles?
Helen?
Ash?
Kwame?
Alex?
Jacq?
Rachel?
Samantha?
Louise?
Carly?
Amy?
Zoe?
Ella?
Gem?
Isobel?
Sofia?
Alice?
FRAGMENT LXIII
“Fragment LXIII” – Jesmonite on steel base, 90cm high.
Bronze edition of 3 available soon.
Fragment LXII
“Fragment LXII” – Jesmonite on steel base, 70cm high.
Bronze edition of 3 available now from Remarkable Treasures, Lisbon email rt.remarkabletreasures@gmail.com for details.
Mark Youd’s work is often about deconstructing the portrait in the search for inner identity, the relationship between the surface we present to the world and what we keep hidden. Further, through the textures of rock and metal, he demonstrates our inextricable link with the Earth.
“If we strip-back absolutely everything that isn’t essential for survival, all that remains is the planet around us.”
These themes are brought together powerfully in the bronze edition of Fragment LXII.
From a global perspective, the face appears as a tectonic plate, a fragment of the crust of the Earth, its surface alive with mountainous ridges and glacially carved valleys. The polished reverse side shines, as though reflecting the molten, churning core of the planet, or perhaps it reflects the soul of the individual, the light of creativity, personality and consciousness.
This compelling sculpture is available now from Remarkable Treasures, Lisbon.
Fragment LXI
“Fragment LXI” – Ink and Acrylic on Perspex, 160x120cm.
Fragment LX
“Fragment LX” – Oil on Canvas, 100x75cm.
Psyche XV
“Psyche XV” Drypoint & Carborundum, 40x30cm.
Psyche XIV
“Psyche XIV” Woodcut, 40x30cm.
Psyche XIII
“Psyche XIII” Drypoint, 40x30cm.
“Psyche XII”
“Psyche XII” – Plaster on steel base, 28cm high.
“Psyche XI”
“Psyche XI” – Plaster on steel base, 30cm high.
“Psyche X”
“Psyche X” – Plaster on steel base, 30cm high.
“Psyche IX”
“Psyche IX” – Plaster on steel base, 38cm high.
Maquette for “Psyche VIII”
Maquette for “Psyche VIII” – Plaster, 52cm high.
Psyche VII
“Psyche VII” Drypoint, 40x30cm.
Psyche VI
“Psyche VI” Monoprint, 40x30cm
Psyche V
“Psyche V” Woodcut, 40x30cm.
Psyche IV
“Psyche IV” Monoprint, 40x30cm.
Psyche III
“Psyche III (Dissociate)” Lithograph Monotype Collage, 30×22.5cm
Psyche II
“Psyche II (Starling)” – Drypoint print on plaster, 28x21cm.
Psyche I
“Psyche I (Scatter)” – Drypoint print on plaster, with acrylic and sgraffito. 28.5x20cm
Fragment LIX
“Fragment LIX” – Plaster, steel rod, 44 cm high.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment LVIII
“Fragment LVIII” – Plaster, steel rod, 25 cm high.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment LVII
“Fragment LVII” – Jesmonite, 27 cm long, unique edition.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment LVI
“Fragment LVI” – Bronze, 24cm high, edition of 3.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Study for a Fragment VIII
“Study for a Fragment VIII” – Ink on scratched plastic, 40x30cm, unique.
These studies are an opportunity for me to experiment with printmaking and drawing techniques. Drawing is my first passion and is essential for me to understand the line, shape and volume of my subject.
Study for a Fragment VII
“Study for a Fragment VII” – Ink on scratched plastic, 40x30cm, unique.
These studies are an opportunity for me to experiment with printmaking and drawing techniques. Drawing is my first passion and is essential for me to understand the line, shape and volume of my subject.
Study for a Fragment VI
“Study for a Fragment VI” – Ink on scratched plastic, 40x30cm, unique.
These studies are an opportunity for me to experiment with printmaking and drawing techniques. Drawing is my first passion and is essential for me to understand the line, shape and volume of my subject.
Study for a Fragment V
“Study for a Fragment V” – Ink on scratched plastic, 40x30cm, unique.
These studies are an opportunity for me to experiment with printmaking and drawing techniques. Drawing is my first passion and is essential for me to understand the line, shape and volume of my subject.
Fragment LIII
“Fragment LIII” – Bronze, 16cm high, edition of 3.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment LV
“Fragment LV” – Oil on canvas, 100x75cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment LIV
“Fragment LIV” – Oil on canvas, 100x75cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment LII
“Fragment LII” – Oil on canvas, 100x75cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment LI
“Fragment LI” – Oil on canvas, 100x75cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Study for a Fragment IV
“Study for a Fragment IV” – Etching, 40x30cm, Edition of 10.
These studies are an opportunity for me to experiment with the printmaking techniques of etching. The prints bridge the gap between my initial idea and starting a painting. Drawing allows me to answer compositional questions and is essential for me to understand the line, shape and volume of my subject.
Fragment L
“Fragment L” – Oil on canvas, 100x75cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Study for a Fragment III
“Study for a Fragment III” – Etching, 40x30cm, Edition of 10.
These studies are an opportunity for me to experiment with the printmaking techniques of etching. The prints bridge the gap between my initial idea and starting a painting. Drawing allows me to answer compositional questions and is essential for me to understand the line, shape and volume of my subject.
Study for A Fragment II
“Study for a Fragment II” – Etching, 40x30cm, Edition of 10.
These studies are an opportunity for me to experiment with the printmaking techniques of etching. The prints bridge the gap between my initial idea and starting a painting. Drawing allows me to answer compositional questions and is essential for me to understand the line, shape and volume of my subject.
Fragment XLIX
“Fragment XLIX” – Oil on canvas, 100x75cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Study for a Fragment I (Third State)
“Study for a Fragment I (Third State)” – Drypoint, 40x30cm.
These studies are an opportunity for me to experiment with the printmaking techniques of etching. The prints bridge the gap between my initial idea and starting a painting. Drawing allows me to answer compositional questions and is essential for me to understand the line, shape and volume of my subject.
Fragment XLVIII
“Fragment XLVIII” – Oil on canvas, 100x75cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment XLVII
“Fragment XLVII” – Oil on canvas, 100x75cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment XLVI
“Fragment XLVI” – Oil on canvas, 100x75cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Cast XXXIX
“Cast XXXIX’ – Ink monotype on glass + shadow on card, 30×22.5cm
Further experiments using traditional techniques in unconventional ways have resulted in the Cast series.
The single, continuous, rapidly drawn line appears suspended, and the shadow it casts encourages the viewer to look beyond the surface, behind the mask.
Cast XXXVII
“Cast XXXVII’ – Ink monotype on glass + shadow on card, 30×22.5cm
Further experiments using traditional techniques in unconventional ways have resulted in the Cast series.
The single, continuous, rapidly drawn line appears suspended, and the shadow it casts encourages the viewer to look beyond the surface, behind the mask.
Cast XXXIV
“Cast XXXIV’ – Ink monotype on glass + shadow on card, 30×22.5cm
Further experiments using traditional techniques in unconventional ways have resulted in the Cast series.
The single, continuous, rapidly drawn line appears suspended, and the shadow it casts encourages the viewer to look beyond the surface, behind the mask.
Fragment XLV
“Fragment XLV” – Oil on canvas, 100x75cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Cast XXXI
“Cast XXXI’ – Ink monotype on glass + shadow on card, 30×22.5cm
Further experiments using traditional techniques in unconventional ways have resulted in the Cast series.
The single, continuous, rapidly drawn line appears suspended, and the shadow it casts encourages the viewer to look beyond the surface, behind the mask.
Cast XXIX
“Cast XXIX’ – Ink monotype on glass + shadow on card, 30×22.5cm
Further experiments using traditional techniques in unconventional ways have resulted in the Cast series.
The single, continuous, rapidly drawn line appears suspended, and the shadow it casts encourages the viewer to look beyond the surface, behind the mask.
Cast XXIII
“Cast XXIII’ – Ink monotype on glass + shadow on card, 30×22.5cm
Further experiments using traditional techniques in unconventional ways have resulted in the Cast series.
The single, continuous, rapidly drawn line appears suspended, and the shadow it casts encourages the viewer to look beyond the surface, behind the mask.
Fragment XLIV
“Fragment XLIV” – Bronze & Limestone, 20cm long, edition of 3.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment XLIII
“Fragment XLIII” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment XLII
“Fragment XLII” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Cast XVIII
“Cast XVIII’ – Ink monotype on glass + shadow on card, 30×22.5cm
Further experiments using traditional techniques in unconventional ways have resulted in the Cast series.
The single, continuous, rapidly drawn line appears suspended, and the shadow it casts encourages the viewer to look beyond the surface, behind the mask.
Cast XVII
“Cast XVII’ – Ink monotype on glass + shadow on card, 30×22.5cm
Further experiments using traditional techniques in unconventional ways have resulted in the Cast series.
The single, continuous, rapidly drawn line appears suspended, and the shadow it casts encourages the viewer to look beyond the surface, behind the mask.
Cast XIII
“Cast XIII’ – Ink monotype on glass + shadow on card, 30×22.5cm
Further experiments using traditional techniques in unconventional ways have resulted in the Cast series.
The single, continuous, rapidly drawn line appears suspended, and the shadow it casts encourages the viewer to look beyond the surface, behind the mask.
Cast XII
“Cast XII’ – Ink monotype on glass + shadow on card, 30×22.5cm
Further experiments using traditional techniques in unconventional ways have resulted in the Cast series.
The single, continuous, rapidly drawn line appears suspended, and the shadow it casts encourages the viewer to look beyond the surface, behind the mask.
Fragment XLI
“Fragment XLI” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment XL
“Fragment XL” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment XXXIX
“Fragment XXXIX” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment XXXVIII
“Fragment XXXVIII” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment XXXVI
“Fragment XXXVI” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Cast IX
“Cast IX’ – Ink monotype on glass + shadow on card, 30×22.5cm
Further experiments using traditional techniques in unconventional ways have resulted in the Cast series.
The single, continuous, rapidly drawn line appears suspended, and the shadow it casts encourages the viewer to look beyond the surface, behind the mask.
Cast VII
“Cast VII’ – Ink monotype on glass + shadow on card, 30×22.5cm
Further experiments using traditional techniques in unconventional ways have resulted in the Cast series.
The single, continuous, rapidly drawn line appears suspended, and the shadow it casts encourages the viewer to look beyond the surface, behind the mask.
Fragment XXXV
“Fragment XXXV” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment XXXIV
“Fragment XXXIV” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Cast V
“Cast V’ – Ink monotype on glass + shadow on card, 30×22.5cm
Further experiments using traditional techniques in unconventional ways have resulted in the Cast series.
The single, continuous, rapidly drawn line appears suspended, and the shadow it casts encourages the viewer to look beyond the surface, behind the mask.
Fragment XXXIII
“Fragment XXXIII” – Oil on canvas, 100x75cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment XXXII
“Fragment XXXII” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Cast I
“Cast I’ – Ink monotype on plastic + shadow on card, 30×22.5cm
Further experiments using traditional techniques in unconventional ways have resulted in the Cast series.
The single, continuous, rapidly drawn line appears suspended, and the shadow it casts encourages the viewer to look beyond the surface, behind the mask.
Fragment XXXI
“Fragment XXXI” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment XXX
“Fragment XXX” – Oil on canvas, 100x75cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment XXIX
“Fragment XXIX” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment XXVIII
“Fragment XXVIII” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment XXVII
“Fragment XXVII” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment XXVI
“Fragment XXVI” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment XXIV
“Fragment XXIV” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment XXII
“Fragment XXII” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment XXI
“Fragment XXI” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment XX
“Fragment XX” – Acrylic on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment XIX
“Fragment XIX” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment XVIII
“Fragment XVIII” – Acrylic on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment XVII
“Fragment XVII” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment XV
“Fragment XV” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment XIV
“Fragment XIV” – Acrylic on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment XIII
“Fragment XIII” – Acrylic on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment XII
“Fragment XII” – Acrylic & ink on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment XI
“Fragment XI” – Acrylic on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment X
“Fragment X” – Acrylic, charcoal & pastel on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment VII
“Fragment VII” – Acrylic, charcoal & pastel on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment VI
“Fragment VI” – Acrylic, charcoal & pastel on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment V
“Fragment V” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment IV
“Fragment IV” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment III
“Fragment III” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment II
“Fragment II” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment I
“Fragment I” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Liz?
“Liz?” – Oil and acrylic on canvas, 122x91cm.
These paintings each depict a brief moment, a glimpse of a person, perhaps passing in the opposite direction on an escalator or brushed passed in a crowd, in that moment there is a spark of connection and somehow you are able to experience their thoughts, feelings, and daydreams. These images are an attempt to record that sensation before it fades.
Charles?
“Charles?” – Oil and acrylic on canvas, 61x46cm.
These paintings each depict a brief moment, a glimpse of a person, perhaps passing in the opposite direction on an escalator or brushed passed in a crowd, in that moment there is a spark of connection and somehow you are able to experience their thoughts, feelings, and daydreams. These images are an attempt to record that sensation before it fades.
Helen?
“Helen?” – Oil and acrylic on canvas, 122x91cm.
These paintings each depict a brief moment, a glimpse of a person, perhaps passing in the opposite direction on an escalator or brushed passed in a crowd, in that moment there is a spark of connection and somehow you are able to experience their thoughts, feelings, and daydreams. These images are an attempt to record that sensation before it fades.
Ash?
“Ash?” – Oil and acrylic on canvas, 61x46cm.
These paintings each depict a brief moment, a glimpse of a person, perhaps passing in the opposite direction on an escalator or brushed passed in a crowd, in that moment there is a spark of connection and somehow you are able to experience their thoughts, feelings, and daydreams. These images are an attempt to record that sensation before it fades.
Kwame?
“Kwame?” – Oil and acrylic on canvas, 122x91cm.
These paintings each depict a brief moment, a glimpse of a person, perhaps passing in the opposite direction on an escalator or brushed passed in a crowd, in that moment there is a spark of connection and somehow you are able to experience their thoughts, feelings, and daydreams. These images are an attempt to record that sensation before it fades.
Alex?
“Alex?” – Oil and acrylic on canvas, 122x91cm.
These paintings each depict a brief moment, a glimpse of a person, perhaps passing in the opposite direction on an escalator or brushed passed in a crowd, in that moment there is a spark of connection and somehow you are able to experience their thoughts, feelings, and daydreams. These images are an attempt to record that sensation before it fades.
Jacq?
“Jacq?” – Oil and acrylic on canvas, 122x91cm.
These paintings each depict a brief moment, a glimpse of a person, perhaps passing in the opposite direction on an escalator or brushed passed in a crowd, in that moment there is a spark of connection and somehow you are able to experience their thoughts, feelings, and daydreams. These images are an attempt to record that sensation before it fades.
Rachel?
“Rachel?” – Oil and acrylic on canvas, 122x91cm.
These paintings each depict a brief moment, a glimpse of a person, perhaps passing in the opposite direction on an escalator or brushed passed in a crowd, in that moment there is a spark of connection and somehow you are able to experience their thoughts, feelings, and daydreams. These images are an attempt to record that sensation before it fades.
Samantha?
“Samantha?” – Oil and acrylic on canvas, 122x91cm.
These paintings each depict a brief moment, a glimpse of a person, perhaps passing in the opposite direction on an escalator or brushed passed in a crowd, in that moment there is a spark of connection and somehow you are able to experience their thoughts, feelings, and daydreams. These images are an attempt to record that sensation before it fades.
Louise?
“Louise?” – Oil and acrylic on canvas, 91x71cm.
These paintings each depict a brief moment, a glimpse of a person, perhaps passing in the opposite direction on an escalator or brushed passed in a crowd, in that moment there is a spark of connection and somehow you are able to experience their thoughts, feelings, and daydreams. These images are an attempt to record that sensation before it fades.
Carly?
“Carly?” – Oil and acrylic on canvas, 122x91cm.
These paintings each depict a brief moment, a glimpse of a person, perhaps passing in the opposite direction on an escalator or brushed passed in a crowd, in that moment there is a spark of connection and somehow you are able to experience their thoughts, feelings, and daydreams. These images are an attempt to record that sensation before it fades.
Amy?
“Amy?” – Oil and acrylic on canvas, 122x91cm.
These paintings each depict a brief moment, a glimpse of a person, perhaps passing in the opposite direction on an escalator or brushed passed in a crowd, in that moment there is a spark of connection and somehow you are able to experience their thoughts, feelings, and daydreams. These images are an attempt to record that sensation before it fades.
Zoe?
“Zoe?” – Oil and acrylic on canvas, 122x91cm.
These paintings each depict a brief moment, a glimpse of a person, perhaps passing in the opposite direction on an escalator or brushed passed in a crowd, in that moment there is a spark of connection and somehow you are able to experience their thoughts, feelings, and daydreams. These images are an attempt to record that sensation before it fades.
Ella?
“Ella?” – Oil and acrylic on canvas, 122x91cm.
These paintings each depict a brief moment, a glimpse of a person, perhaps passing in the opposite direction on an escalator or brushed passed in a crowd, in that moment there is a spark of connection and somehow you are able to experience their thoughts, feelings, and daydreams. These images are an attempt to record that sensation before it fades.
Gem?
“Gem?” – Oil and acrylic on canvas, 122x91cm.
These paintings each depict a brief moment, a glimpse of a person, perhaps passing in the opposite direction on an escalator or brushed passed in a crowd, in that moment there is a spark of connection and somehow you are able to experience their thoughts, feelings, and daydreams. These images are an attempt to record that sensation before it fades.
Isobel?
“Isobel?” – Oil and acrylic on canvas, 122x91cm.
These paintings each depict a brief moment, a glimpse of a person, perhaps passing in the opposite direction on an escalator or brushed passed in a crowd, in that moment there is a spark of connection and somehow you are able to experience their thoughts, feelings, and daydreams. These images are an attempt to record that sensation before it fades.
Sofia?
“Sofia?” – Oil and acrylic on canvas, 122x91cm.
These paintings each depict a brief moment, a glimpse of a person, perhaps passing in the opposite direction on an escalator or brushed passed in a crowd, in that moment there is a spark of connection and somehow you are able to experience their thoughts, feelings, and daydreams. These images are an attempt to record that sensation before it fades.
Alice?
“Alice?” – Oil and acrylic on canvas, 122x91cm.
These paintings each depict a brief moment, a glimpse of a person, perhaps passing in the opposite direction on an escalator or brushed passed in a crowd, in that moment there is a spark of connection and somehow you are able to experience their thoughts, feelings, and daydreams. These images are an attempt to record that sensation before it fades.