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MARK YOUD

…RHYMES WITH LOUD.

  • DRAWING
  • PRINTMAKING
  • PAINTING
  • SCULPTURE
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  • STUDIO VISITS
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Psyche XLIV

Gallery, PAINTING April 22, 2025

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

Psyche XLIII

Gallery, PAINTING April 22, 2025

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

Psyche XLII

Gallery, PAINTING April 10, 2025

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

Psyche XLI

Gallery, PAINTING April 10, 2025

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

Psyche XL

Gallery, PAINTING April 10, 2025

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

Psyche XXXIX

Gallery, PAINTING April 3, 2025

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

Psyche XXXVIII

Gallery, PAINTING April 3, 2025

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

Psyche XXXVII

Gallery, PAINTING April 3, 2025

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

Psyche XXXVI

Gallery, PAINTING March 28, 2025

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

Psyche XXXV

Gallery, PAINTING March 28, 2025

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

Psyche XXXIV

Gallery, PAINTING March 28, 2025

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

Psyche XXXIII

Gallery, PAINTING March 13, 2025

“Psyche XXXIII” Acrylic & oil on canvas, 120x90cm

Psyche XXXII

Gallery, PAINTING March 13, 2025

“Psyche XXXII” Acrylic & oil on canvas, 120x90cm

Raymond Harrison Sketch

DRAWING, Gallery October 17, 2024

Raymond Harrison Sketch – Pencil, ink & digital.

Psyche XXXI

Gallery, PAINTING October 7, 2024

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

Psyche XXX

Gallery, PAINTING October 4, 2024

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

Psyche XXIX

Gallery, PAINTING October 3, 2024

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

Untitled Sketch

DRAWING, Gallery May 20, 2024

Untitled Sketch – Pencil, ink, digital.

Anthony Burton OBE (Fragment LXVI)

Gallery, PAINTING April 22, 2024

Anthony Burton OBE (Fragment LXVI) – Acrylic and oil on board – 100x75cm

Anthropic XV

DRAWING, Gallery February 19, 2024

Anthropic XV – Ink on Plexiglass – 120x90cm

Anthropic

adjective
(in philosophy and cosmology) involving or concerning the existence of human life, especially as a constraint on the theories of the universe.

Anthropic XIV

DRAWING, Gallery February 19, 2024

Anthropic XIV – Ink on Plexiglass – 120x90cm

Anthropic

adjective
(in philosophy and cosmology) involving or concerning the existence of human life, especially as a constraint on the theories of the universe.

Anthropic XIII

Gallery, PAINTING January 5, 2024

Anthropic XIII – Acrylic & Oil on Board – 100x75cm

Anthropic

adjective
(in philosophy and cosmology) involving or concerning the existence of human life, especially as a constraint on the theories of the universe.

Anthropic XII

Gallery, PAINTING January 5, 2024

Anthropic XII – Acrylic & Oil on Board – 100x75cm

Anthropic

adjective
(in philosophy and cosmology) involving or concerning the existence of human life, especially as a constraint on the theories of the universe.

Anthropic XI

Gallery, PAINTING January 5, 2024

Anthropic XI – Acrylic & Oil on Board – 40x30cm

Anthropic

adjective
(in philosophy and cosmology) involving or concerning the existence of human life, especially as a constraint on the theories of the universe.

Anthropic VIII

DRAWING, Gallery January 5, 2024

Anthropic VIII – Ink on Plexiglass – 56x42cm

Anthropic

adjective
(in philosophy and cosmology) involving or concerning the existence of human life, especially as a constraint on the theories of the universe.

Anthropic I

Gallery, PAINTING January 5, 2024

Anthropic I – Acrylic & Oil on Board – 100x75cm

Anthropic

adjective
(in philosophy and cosmology) involving or concerning the existence of human life, especially as a constraint on the theories of the universe.

Fragment LXII

Gallery, SCULPTURE March 22, 2023

Fragment LXII, Bronze on Reclaimed Oak, 67cm High, Edition 1 of 3

 

Psyche XXVIII

DRAWING, Gallery February 23, 2023

“Psyche XXVIII” Acrylic on plexiglass, 30×22.5cm

Psyche XXVII

DRAWING, Gallery February 9, 2023

“Psyche XXVII” Acrylic on plexiglass, 30×22.5cm

Psyche XXVI

Gallery, PAINTING January 23, 2023

“Psyche XXVI” Oil on canvas, 120x90cm

Fragment LXIII

Gallery, SCULPTURE May 11, 2022

Fragment LXIII, Bronze on Reclaimed Oak, 102cm High, Edition 1 of 3

 

EXHIBITION CATALOGUE – Psyche – A Portrait of the Mind

DRAWING, PRINTMAKING January 25, 2022

Psyche XXIII

Gallery, PAINTING December 30, 2020

“Psyche XXIII” Oil on canvas, 150x100cm

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

Professor Jo Martin (Fragment LXIV)

Gallery, PAINTING March 18, 2020

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

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 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 II

Gallery, PRINTMAKING August 7, 2018

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

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.

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.

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 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 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 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.

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 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.

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 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 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 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 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 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

Mark Youd - Portraits

studio@markyoud.co.uk

Mark Youd is an artist working in an old farmhouse near Glasgow. He trained as a draughtsman and, in parallel to a successful career as a designer and technical illustrator, he developed his personal artistic practice, exploring psychology through portraiture; Investigating the boundaries and intersections of scientific, spiritual and artistic understanding in relation to the human portrait, from the traditional to the abstract, in drawing, printmaking, painting and sculpture.