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Mark Youd

…RHYMES WITH LOUD.

  • DRAWING
  • PRINTMAKING
  • PAINTING
  • SCULPTURE
  • PURCHASE
    • VIEW ART GALLERY, BRISTOL
    • REMARKABLE TREASURES, LISBON
    • AMAZON.CO.UK

Psyche XXIII

Gallery, PAINTING December 30, 2020

“Psyche XXIII” Oil on canvas, 150x100cm

Psyche XXII

Gallery, PAINTING December 15, 2020

“Psyche XXII” Acrylic, Charcoal & oil on board, 40x30cm

Psyche XXI

Gallery, PAINTING September 7, 2020

“Psyche XXI” Oil on canvas, 120x90cm

Psyche XX

Gallery, PAINTING June 25, 2020

“Psyche XX” Oil & charcoal on canvas, 120x90cm

Psyche XIX

Gallery, PAINTING June 15, 2020

“Psyche XIX” Acrylic, Charcoal & oil on board, 40x30cm

Psyche XVIII

Gallery, PAINTING May 26, 2020

“Psyche XVIII” Acrylic, Charcoal & oil on board, 40x30cm

Psyche XVII

Gallery, PAINTING May 20, 2020

“Psyche XVII” Acrylic, Charcoal & oil on board, 40x30cm

Psyche XVI

Gallery, PAINTING May 15, 2020

“Psyche XVI” Acrylic & oil on board, 40x30cm

Fragment LXV

Gallery, PRINTMAKING March 26, 2020

Fragment LXV, woodcut & monoprint, 40x30cm

Fragment LXIV

Gallery, PAINTING March 18, 2020

Professor Jo Martin, President of the Royal College of Pathologists (Fragment LXIV), oil on canvas, 100x75cm – commissioned portrait.

Fragment LXIII

Gallery, SCULPTURE January 21, 2020

“Fragment LXIII” – Jesmonite on steel base, 90cm high.

Bronze edition of 3 available soon.

Fragment LXII

Gallery, SCULPTURE November 29, 2019

“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.

Fragment LXII – Bronze Edition 1 of 3
Fragment LXII – Bronze Edition 1 of 3

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.

http://www.remarkable-treasures.com

Fragment LXI

DRAWING, Gallery October 9, 2019

“Fragment LXI” – Ink and Acrylic on Perspex, 160x120cm.

Fragment LX

Gallery, PAINTING June 5, 2019

“Fragment LX” – Oil on Canvas, 100x75cm.

Psyche XV

Gallery, PRINTMAKING March 4, 2019

“Psyche XV” Drypoint & Carborundum, 40x30cm.

Psyche XIV

Gallery, PRINTMAKING February 27, 2019

“Psyche XIV” Woodcut, 40x30cm.

Psyche XIII

Gallery, PRINTMAKING February 8, 2019

“Psyche XIII” Drypoint, 40x30cm.

“Psyche XII”

Gallery, SCULPTURE January 17, 2019

“Psyche XII” – Plaster on steel base, 28cm high.

“Psyche XI”

Gallery, SCULPTURE January 17, 2019

“Psyche XI” – Plaster on steel base, 30cm high.

“Psyche X”

Gallery, SCULPTURE January 17, 2019

“Psyche X” – Plaster on steel base, 30cm high.

“Psyche IX”

Gallery, SCULPTURE December 7, 2018

“Psyche IX” – Plaster on steel base, 38cm high.

Maquette for “Psyche VIII”

Gallery, SCULPTURE November 7, 2018

Maquette for “Psyche VIII” – Plaster, 52cm high.

 

Psyche VII

Gallery, PRINTMAKING October 15, 2018

“Psyche VII” Drypoint, 40x30cm.

Psyche VI

Gallery, PRINTMAKING October 5, 2018

“Psyche VI” Monoprint, 40x30cm

Psyche V

Gallery, PRINTMAKING September 27, 2018

“Psyche V” Woodcut, 40x30cm.

Psyche IV

Gallery, PRINTMAKING September 13, 2018

“Psyche IV” Monoprint, 40x30cm.

Psyche III

Gallery, PRINTMAKING September 1, 2018

“Psyche III (Dissociate)” Lithograph Monotype Collage, 30×22.5cm

Psyche II

Gallery, PRINTMAKING August 7, 2018

“Psyche II (Starling)” – Drypoint print on plaster, 28x21cm.

Psyche I

Gallery, PRINTMAKING July 30, 2018

“Psyche I (Scatter)” – Drypoint print on plaster, with acrylic and sgraffito. 28.5x20cm

Fragment LIX

Gallery, SCULPTURE March 23, 2018

“Fragment LIX” – Plaster, steel rod, 44 cm high.

Mark Youd - Fragment LIX (2)

Mark Youd - Fragment LIX (3)

Mark Youd - Fragment LIX (4)

Mark Youd - Fragment LIX (5)

Mark Youd - Fragment LIX (6)

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

Gallery, SCULPTURE March 5, 2018

“Fragment LVIII” – Plaster, steel rod, 25 cm high.

Mark Youd - Fragment LVIII (1)

Mark Youd - Fragment LVIII (2)

Mark Youd - Fragment LVIII (3)

Mark Youd - Fragment LVIII (4)

Mark Youd - Fragment LVIII (5)

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

Gallery, SCULPTURE February 8, 2018

“Fragment LVII” – Jesmonite, 27 cm long, unique edition.

Mark Youd - Fragment LVII, Jesmonite, 27cm long (2)Mark Youd - Fragment LVII, Jesmonite, 27cm long (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 LVI

Gallery, SCULPTURE February 8, 2018

“Fragment LVI” – Bronze, 24cm high, edition of 3.

Mark Youd - Fragment LVI, Bronze, 24cm high (2)Mark Youd - Fragment LVI, Bronze, 24cm high (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

DRAWING, Gallery November 9, 2017

“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

DRAWING, Gallery September 30, 2017

“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

DRAWING, Gallery September 30, 2017

“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

DRAWING, Gallery September 30, 2017

“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

Gallery, SCULPTURE September 4, 2017

“Fragment LIII” – Bronze, 16cm high, edition of 3.

Mark Youd - Fragment LIII(5)   Mark Youd - Fragment LIII (2)Mark Youd - Fragment LIII (3)Mark Youd - Fragment LIII(4)

Fragment LIII, bronze 16cm high and new 32cm enlargement available now from remarkable-treasures.com Lisbon.

Fragment LV

Gallery, PAINTING August 17, 2017

“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

Gallery, PAINTING July 19, 2017

“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

Gallery, PAINTING April 26, 2017

“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

Gallery, PAINTING April 3, 2017

“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

DRAWING, Gallery, PRINTMAKING April 3, 2017

“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

Gallery, PAINTING March 10, 2017

“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.

Fragment XLIX

Gallery, PAINTING March 10, 2017

“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.

Fragment XLVIII

Gallery, PAINTING January 4, 2017

“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

Gallery, PAINTING November 15, 2016

“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

Gallery, PAINTING October 14, 2016

“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

DRAWING, Gallery October 14, 2016

“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

DRAWING, Gallery October 14, 2016

“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

DRAWING, Gallery October 14, 2016

“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

Gallery, PAINTING October 14, 2016

“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

DRAWING, Gallery October 14, 2016

“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

DRAWING, Gallery October 14, 2016

“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

DRAWING, Gallery October 14, 2016

“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

Gallery, SCULPTURE September 5, 2016

“Fragment XLIV” – Bronze & Limestone, 20cm long, edition of 3.

Youd_Mark_Fragment XLIV

Mark Youd - Fragment XLIV 2

Mark Youd XLIV 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

Gallery, PAINTING September 5, 2016

“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

Gallery, PAINTING September 5, 2016

“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

DRAWING, Gallery September 5, 2016

“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

DRAWING, Gallery September 5, 2016

“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

DRAWING, Gallery September 5, 2016

“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

DRAWING, Gallery September 5, 2016

“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

Gallery, PAINTING September 5, 2016

“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

Gallery, PAINTING July 12, 2016

“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

Gallery, PAINTING July 12, 2016

“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

Gallery, PAINTING July 12, 2016

“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

Gallery, PAINTING July 12, 2016

“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

DRAWING, Gallery June 3, 2016

“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

DRAWING, Gallery June 3, 2016

“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

Gallery, PAINTING June 3, 2016

“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

Gallery, PAINTING May 5, 2016

“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

DRAWING, Gallery May 5, 2016

“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

Gallery, PAINTING April 8, 2016

“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

Gallery, PAINTING April 8, 2016

“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

DRAWING, Gallery March 30, 2016

“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

Gallery, PAINTING March 8, 2016

“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

Gallery, PAINTING March 8, 2016

“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

Gallery, PAINTING March 8, 2016

“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

Gallery, PAINTING January 26, 2016

“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

Gallery, PAINTING January 19, 2016

“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

Gallery, PAINTING December 30, 2015

“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

Gallery, PAINTING December 15, 2015

“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

Gallery, PAINTING December 15, 2015

“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

Gallery, PAINTING November 8, 2015

“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

Gallery, PAINTING November 8, 2015

“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

Gallery, PAINTING November 8, 2015

“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

Gallery, PAINTING November 8, 2015

“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

Gallery, PAINTING October 9, 2015

“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

Gallery, PAINTING September 17, 2015

“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

Gallery, PAINTING August 27, 2015

“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

Gallery, PAINTING August 27, 2015

“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

Gallery, PAINTING August 27, 2015

“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

Gallery, PAINTING August 27, 2015

“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

Gallery, PAINTING August 27, 2015

“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

Gallery, PAINTING August 27, 2015

“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

Gallery, PAINTING August 27, 2015

“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

Gallery, PAINTING August 27, 2015

“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

Gallery, PAINTING August 27, 2015

“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

Gallery, PAINTING August 27, 2015

“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

Gallery, PAINTING August 27, 2015

“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

Gallery, PAINTING August 27, 2015

“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.

DRAWING

PRINTMAKING

PAINTING

SCULPTURE

INTERVIEW WITH VIEW ART GALLERY

https://vimeo.com/462089672?loop=0

studio@markyoud.co.uk

Mark Youd is an artist working in a beautiful old farmhouse near Glasgow. He trained as a draughtsman and, in parallel to a successful career as a designer and technical illustrator, he has developed his personal artistic practice, exploring the possibilities of the artistic portrait.