The Kyffin Williams Drawing Prize 2018 - Artists

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E-Exhibition | Artists | Winners


Click on the name of the Artist for more information:


1 - Parsley - Jac Atkinson

My practise includes drawing, painting and sculpture. Drawing is the discipline I can always return to when I can do nothing else; it is my lifeline for self-expression and an absorbing delight. The variety of ways of using drawing and the simplicity of the materials needed to do it, make it accessible almost anywhere at any time and I nearly always do a drawing for its own sake rather than as a preparation for another artwork.

This drawing of parsley has given me the opportunity to experiment with trying to portray the delicacy of the plant that is dying, not just in a figurative way, but by making it look as if it is slowly being absorbed by the paper, disappearing in fact, as dying plants do.

2 - Sunday lunchtime outside the Red Lion - Peter Collyer

My work is a pursuit of the history of the landscape, its shaping by man and by nature, the working and weathering of the land. Sometimes this can be expressed through the observation and recording of a fleeting moment, which can also make a statement that is timeless and definitive.

I used to work exclusively in watercolour, on a small scale, but now I sometimes use oil pastel modified with coloured pencil, which allows me to work on a much larger scale. I don’t make marks for their own sake; in fact, I try to disguise them. I want the viewer to see through the surface of the drawing or painting to the scene I have witnessed and recorded, this is what my work is about; the location. If it makes you want to go there to see it for yourself then it has worked.

3 - Railway Bridge, Thetford - Patricia Clark

4 - Hedgerow, Llyn Traffwll - Patricia Clark

I have lived on Ynys Môn for over 30 years and have found it to be most productive in giving me ideas for artwork. I draw or paint anything that I find interesting.

I like to work with various media from oil on canvas, through to ink drawing, over the last few years I have found wax combined with black Indian ink on paper gives me the effect I like.

I use homemade Bamboo pens for drawing as I prefer the effect compared with metal nibs, reed or bird quills.

5 - Portrait Of Philip Glass - Daniel Crouch

6 - Taid In A Paper Hat - Daniel Crouch

Since commencing my initial art training, People have been the primary source of inspiration. My motivation is to capture a person’s character with sincerity. Subjects are consciously chosen for their unconventional yet captivating qualities. This understated beauty with an underlying sense of melancholy has become a significant trait in my work.

Competent drawing plays an integral role in the development of themes for subsequent paintings in Oil. I will often begin with a small illustration to determine whether it will transpire into a successful painting. However, in many cases, a finished drawing can prove compelling enough to stand alone, without the need for further elevation.

Stylistically, it is important for me to maintain an enduring engagement with historical and contemporary figurative art. Northern renaissance and Flemish painters have remained a dominant influence. The superiority of their works on paper and meticulously painted compositions, are qualities I greatly admire.

7 - Maria - Fran Collins

8 - Nigel - Fran Collins

I enjoy the discipline of life drawing, the interaction between the model and the artist and the short time I have to respond to the pose.

Because I have to work quickly, I prefer to draw in black and white. I have been using charcoal for some time – a wonderful subtle medium. More recently, I have used ink and chalk to broaden my palette as well as soluble graphite.

9 - Journey Through Time - Diana Davies

Situated high above Dunstable Downs, Whipsnade Zoo has magnificent views across surrounding countryside. It is by nature a very exposed site, so when this dark avenue of trees with its area of woodland behind appeared, my eye was immediately drawn to it.

Planted in a formal way the effects of the strong winds and the lack of protection meant each individual tree displayed its own struggle for existence. The foreground of the dead sculptural tree leading to the dark tunnel of powerful, living but struggling trees gives a sense of disquiet, unease, but there are passages of light which hint at a space beyond.

10 - Weathered Landscape - Gareth Davies

11 - Darkness Approaches - Gareth Davies

Where does one start trying to describe clearly the intension of an artist. Quite often the intension is not truly clear to the artist himself. He/she follows some inner instinct to create. There are times when an external influence, be it natural, social or political plays a strong part. Thoughts, dreams and a strong imagination can also be the starting points. These are personal to each individual artist and can or cannot be understood by the viewer. What is clearly understood by one individual is not necessarily understood by another. The materials used and techniques employed play a large part and these qualities to an untrained eye cannot be fully appreciated.

Probably the best solution is simply to look at pictures without any preconceived ideas and see if anything moves you, be it one way or another.

12 - The Shadow He Persues - Andy Dobbie

Andy Dobbie is an Anglesey-based artist who paints and draws a range of subjects (including Portraits, Landscapes, Figures, Still Life and Murals) in acrylics, oils, pencil and charcoal, as well as making linocut prints and welded scrap metal sculptures.

He is fascinated by how we portray and perceive three-dimensional forms on two-dimensional surfaces, especially as it relates to the human face and figure.

He also loves the wide range of picturesque locations that Anglesey has to offer and continues to seek new ways to do them justice on canvas.

He takes inspiration from artists of all eras and movements, but especially from Post-Impressionism onwards and particularly from Cubism, which he feels still has more to offer figurative artists in the digital age.

His artistic heroes include Pablo Picasso, Henri Matisse and David Hockney.

13 - The Decorator - Anthony Griffin

My practice is informed by a classical approach. Through curiosity and observation, I endeavour to gain a deeper understanding of my subject. I hope the marks and gestures I place on the surface, convey something about what is going on underneath.

14 - September 2017, Gaerwen - Daisy Wyn Griffith

My work is based on my immediate environment, my response to my surroundings and my interaction with it. Working with traditional media, always with an awareness of the importance of drawing. Whether at home or the wider landscape.

15 - Llaneilian Churchyard - Pamela Green

For a number of years now I have concentrated on the human figure, producing work from life studies created in local classes.

Unusually, this piece came from attending Mike Knowles’ outdoor week at Llaneilian in 2017, for the first time since 1995. The weather was fine and on the walk to the coast, this subject, its shapes and dark shadows, drew to me to return.

16 - Flying Away - Geoff Hewitt

My work is figurative, with explorations into landscape, depicting commonplace events, single moments in time and the unsaid. I intend my drawings and paintings to offer narratives that invite and facilitate the viewer to digress, using their own experience, to achieve different outcomes and to connect more closely with the work.

I use a variety of media, mainly oils, but drawing informs everything that I do.

‘Flying Away’ is autobiographical. It shows hope and ambition in the form of a home-built model aircraft against a generational background of work in a colliery.

17 - Nant Ffrancon - Bryn Humphreys

Living in such a beautiful area such as Anglesey and bordering on the exquisite, Snowdonia National Park has long inspired me to create art.

I strive to depict nature’s greatest works of art using paint and paper and it’s always a challenge and never easy, but I can only ever play second fiddle to what is ultimately perfection, but I’ll never give up the struggle of painting because I just love it too much.

18 - Drystone Wall - Gill Hopley

I live on Cefn Ddu overlooking Caernarfon Bay and Ynys Môn. Dry stonewalls are an integral part of the landscape. The view from my door is a patchwork of fields ‘stitched together’ by dry stonewalls. The colours and shapes visible in these patchworks often echo the beauty of stained glass windows. I am inspired and awed by the enormous achievement of the men who built these walls frequently in high mountainous inhospitable places.

The shapes created by the figures portray the reality of their toil and communicate the strength and effort necessary for lifting and placing the stones. The shapes and patterns made by the bare, leafless branches of the winter trees twisting upwards to the sky represent the raw, exposed and tough conditions experienced whilst constructing these walls.

‘Dry Stone Wall 1’ is my response to this very familiar subject and a celebration of those workers.

19 - Mabli in Nain Glanffrwd’s House - Eleri Jones

20 - Moel Siabod from Capel Garmon - Eleri Jones

The two pieces that I have in the exhibition are drawings made with a mixture of Indian ink, white chalk, graphite and charcoal, the tools that are in my drawing box in my Van. The landscape was made in situ in response to the view of Moel Siabod from my home. It is a scene that I pass most days when I take my daughters to school; I did it in my Van while my baby was asleep. I had to work intuitively and quickly before he woke, often this way of working adds an element of urgency and does not allow me to get too precious resulting in an honest immediate response to the landscape.

The drawing of ‘Mabli in Ty Nain Glanffrwd’ is a study for an oil painting based on a memory of my daughter playing in her ‘Hen Nain’s’ bedroom with the old hair brushes and mirrors. I was particularly drawn to the busyness of the 1960’s wallpaper, carpet and fabrics in this scene, while in contrast Mabli played quietly in her own little world in this space where it seems time has stood still.

21 - Inspired By A Dream. Action On This Side, Calm On The Opposite Shore - David Jones

22 - Inspired By A Dream. Did He See The Angel's Dated Dancing - David Jones

My aim is to create a world from my imagination – images and objects that are intriguing to the eye.

Sometimes I draw upon images from dreams, sometimes from memories of childhood, sometimes from myth objects – the subconscious world of cultural identity; typically often represented in children’s stories and nursery rhymes – ‘the cow jumped over the moon’, ‘the dish ran away with the spoon’.

I derive inspiration from folk art and especially from outsider art – the obsessive power of the art of the insane.

23 - Last Sleep - Bridgitte Kern

Drawing is my passion; making connection between mind and being, and the world around us. The drawing will give back, who you are at that time and it will stay longer in your head, because it comes out of you directly. It will be a reminder and reflection of deeper interest and hidden thoughts.

Sometimes I start scribbling or make an exact line, very slowly, totally absorbed in the art of looking; walking the line over the surface I see, without putting my eyes towards the paper.

But this drawing is very different, because this is my mother in the last days of her life.

I started the features of her face with a fine pencil and the softest line as if I could hurt her. The remainder of the drawing came easy. The art of drawing can be strangely rewarding.

24 - Barbara - Ann Lacey

For me drawing is a discovery.

I love to draw people; the head and face hold a particular fascination for me. I try to capture the essence of the person I am fortunate enough to portray.

I appreciate historical references. The work of Gwen John, with the stillness and meditative quality of her portraiture and that of Paula Modersohn Becker, for her own stylistic development as a move towards greater simplicity of form. I admire the work of David Hockney and the use of rhythm and variation of line in his early portraits. These are a few of the many artists I look to for inspiration.

Aside from portraiture, I explore themes such as the archetypal female in mythology, identity and a sense of place.

For me, there are two ways of working, the academic ‘head’ way and a more playful exploratory ‘heart’ way. I bring them together in my work using drawing, painting, collage and printing.

25 - On Duty - Lou Moore

Whilst walking in late spring I stopped to admire the scene where a sheep and her lamb were napping together in the sunshine. Then I noticed the mother half open her eyes – almost imperceptibly and without moving any other muscle. She didn’t take her eyes off me until I moved away, her lamb blissfully unaware the whole time that his mother was always “on duty”.

26 - Eleri Mills - In the Valley – The Track

While my work has always been influenced by the landscape and bardic tradition of Wales, this drawing which belongs to a new series of ink works on paper, challenges me in terms of scale, technique, emotional content and tempo.

In this work I am representing a layered landscape, and a sense of belonging to a place. There are risks involved when working with ink with no room for error – my concern is always dealing with balance and rhythm. It is an intensely physical and gestural process… a form of choreography and personal mapmaking which celebrates an old familiar landscape.

27 - Potholes And Patches, An Old Road In The Ceiriog Valley - Richard Mountford

This drawing of a decaying, potholed country lane is based on a section of road a mile from our home, alongside Caemor Woods, 1400ft up the side of the Ceiriog Valley.

The combination of a cracking and crumbling road exposing older layers of road surface below and contrasting with a few attempts at repair, a couple of patches of fresh tarmac ineffectively fighting the tide of decay was a very appealing subject for a drawing.

During the time in which the drawing was developing there were moments when it was as if I was drawing a topographical image, the repaired patches representing the pure plantations found in so many areas of Wales, the central section reminiscent of moorlands, the small puddle a mountain lake bounded by scree slopes, and field pattern, the cracked tarmac, but then it returns to being a decaying, patched welsh mountain road.

28 - Abandoned Slate Mill - Louise Morgan

The main body of my work is in landscape painting, being inspired by the ever-changing landscape and architectural heritage of North Wales. I am also influenced by Waldo Williams the poet, whose clever prose connects the landscape with the human narrative. The elements of landscape are changing, each element is on a journey of change this reflects the journey that human life takes.

In order to achieve the creative goal of my inspiration, I work from life and memory. I have adapted my mark making techniques to cope with the environment and also to show movement and depth. The movement reflecting the changing environment and the depth giving a sense of time passing, and expression of a legacy left by older generations.

29 - Six March Hares - Colin See-Paynton

30 - White Owl Brown Hare - Colin See-Paynton

Everything begins with a drawing. It is perhaps the purest and truest expression of our love of the world, purer even than the written or spoken word.

When we draw we pay homage, revering our subject in the most intimate way, gaining understanding and the fullest appreciation of its wonders. Yet even as young children it is what we are able to do most naturally, without affectation and with joy. Drawing has informed and founded our civilisation.

31 - Ceiliog - Electric Mountain, Llanberis - Glyn Price

The work before you has been completed in the studio, exploring technique and process. I simply draw and paint the world around me.

I believe in creating original pieces and seeing the world afresh, simply reacting to what is in front of me. I am interested in colour and shape within the land, as well as the vast history and culture we have here in North Wales which is embedded in to the slate quarries and surrounding mountains.

Although some works seem figurative, I am constantly pushing boundaries and taking risks, sometimes producing abstract works, shifting between different methodology and approaches, keeping myself interested and engaged.

The land is very important to me, and I want to continue exploring the great outdoors. I simply react to the land where I was born and have been brought up in, trying to capture a moment in time through a creative process.

32 - Beach Bone Sketch - Timothy Pugh

I am an Environmental artist working with a wide range of mixed media and processes that are used to create site-specific temporary drawings, installations and interventions. I attended Wrexham and Edinburgh Colleges of Art, graduating in 1989 with a B.A. (Hons) Degree in Ceramics. Since then, I have been self-employed as a professional artist exhibiting my work in galleries, museums and other venues across the U.K. and internationally. I work in many contrasting urban and rural locations creating site-specific installations and drawings that are photographically documented using medium format film and digital processes.

The artwork I have submitted for the exhibition is a pencil and watercolour drawing of a bone I found on a beach in Whitehaven, west Cumbria. I view drawings as an integral part of my creative practice and an important component of my visual arts research process.

33 - Bryncir Market - Anwen Roberts

Living within an agricultural and rural environment, I am inspired by its work, life, people and animals related to this way of living.

Livestock Markets are a part of the industry that encompasses many of these elements; Bryncir on market day seemed a great subject, so busy and full of life.

I have challenged myself to capture this within my drawing, using graphite powder, pencil and pastel.

34 - Cafe - Judy Roberts

I enjoy drawing and painting people, buildings and the local landscape. The pattern created by shadows interest me, particularly the contrast and shapes created by working against the light, and often I exaggerate the perspective. I work from life, from sketches and photographs, and also from my imagination. I have always drawn and painted but, since retiring and moving to Anglesey in 2007, I have been able to do more work and to exhibit locally. My work is mainly in acrylic, charcoal, and ink and wash.

35 - Slow Looking - Gilly Thomas

To me the act of drawing or painting and the images it generates must have a reason for themselves, a meaning.

Ironically, meaning is elusive and may be entirely absent in an irrational universe.

I try to concoct an image that holds (or hides) within it a kind of distilled version of what bothers me in a world full of the strangely significant, and the tyrannical dominance of the mundane.

It is an absurd activity but it gives me, when I nail the feeling, what I might describe as a burst of sanity.

Then I can start in a codified way to penetrate my own mysteries, which I suppose belong to everyone.

36 - Spring - Amy Walker

Art, technology and design played a leading role throughout my employment within Early Years Education. Encouraging young children to explore the properties of art and design materials was, artistically, my most liberating experience to date. Together we created interactive displays which were amongst my most enjoyable explorations into the possibilities of art and design. Our displays were deemed worthy of note in three OFSTED reports. I co-led an international Comenius project,
‘Take part in art’ with schools in Spain, France and Rumania.

Upon retirement to Anglesey, I gained the luxury of time to explore and develop my creativity, which continues to evolve. Whilst drawing I can become lost and then found.
‘Spring’ is representative of the subtle hope of better days.

My work has been exhibited in Bristol, RCA Conwy, Oriel Môn, Ucheldre, David Hughes Centre and Beaumaris Town Hall Anglesey.

37 - Stepping Out - Sarah Whiteside

Stepping out of my new studio at Unit 5 Dinas Boat Yard, Felinheli, where I am part of a group of 4 people, artists and woodworkers, has widened my personal horizons over the last year.

On the shore of the Menai Straits, where tides, weather and wildlife are often wild, I find local people welcoming and helpful. I am learning fast, as I use new tools to make supports for stretching my canvasses for oil paintings.

The medium of oil paint guides me as I draw and paint to make a response to this new place.

38 - Snowdon Horseshoe - David Woodford

Drawings have several identities; always an end in themselves, never inferior to painting, and as reference for other work. The use of wash establishes tonal authority, structure and spatial recession.

This image is drawn on very smooth paper with full range of pencils, their expressive potential often underestimated. The surfaces are built up akin to glazing in oil paint, only a smooth surface making this possible.

Whilst the image appears conventional, I appeal to the viewer to look very closely at the quality of surfaces. I like Ernst Gombrich’s statement that artists don’t so much draw (or paint) what they see, they see what they draw. The process, I can assure you, is sensual more than illustrative.

Perched on a cliff top, this drawing took me 20ndays – studio paintings that result from such information are often worked on, for between two to ten years.

39 - Wrist Cast - Dorothy M Williams

My normal working life was disrupted when I fell on rocks at Aberffraw and broke my wrist. This caused me to slow down and focus on the various dressings I was given.

This particular drawing was the second version; I became fascinated by the texture and contour lines of the cast, which began to take on the appearance of a fungus. The two viewpoints were drawing larger than life using graphite and with added focus due to the difficulty of holding my arm in place.

41 - Light In Nant Ffrancon - Jeremy Yates

I am currently working on large-scaled drawings using compressed charcoal on white primed panels. These tend to be atmospheric depictions inspired by the landscape of north Wales, or places which I have visited recently, Scotland (Mull) and northern France. They are studio works that take appearance as a given but that are not beholden to slavish representation – a balance of the two is the aim, and the absence of colour is a liberating factor: texture, contrast, surface become more focused.

42 - Searching For The Dolphins - Ruth Koffer

Art is a powerful tool, which can be used to drop down into a human being’s deepest fears and longings, as well as a language in which to describe small pleasures along the way.

43 - Above The Clywedog - Diane Rose

Drawing within the landscape connects me to nature and the rhythms of the seasons. I have drawn this particular woodland many times, yet each visit has inspired a different perspective and insight.

The woodland above the River Clywedog is dense and the trees are twisted, almost seeming to have to fight for the light – yet the mosses below are by contrast, calm and composed with a sense of tranquillity.

The intention with this piece was to portray the particular mood unique to this landscape, which is it seems to me, possessed of a mysterious, otherworldly quality.

My love of nature and the excitement I feel at the coming of the seasons – each with their unique moods and character, are what continue to inspire me.

44 - Love And Loss...From The Streets Of Aberystwyth - Jane Roy

Atmosphere and an environment conducive to the development of art, this is what I feel when working in my studio at the Old College Aberystwyth.

Walking through the town’s streets is a time for reflection; it is at these times when certain objects, whether lost or simply discarded, bring themselves to my attention. So this journey, this daily ‘commute’ to and from my studio has resulted in a particular collection of objects from which the composition of this drawing has emerged.

By using the actual process of drawing with the tactile quality of working on paper I build an image gradually. For me, this emulates the processes of existence and wear, absorbing some essence of atmosphere held by objects with a past.

Possibilities of incorporating their past lives or alternative circumstances far beyond their original situation transport me to some other environment or place building in intensity as I work.

45 - Bath, The Circus - Kim Whitby

46 - Fareham Creek - Kim Whitby

I immerse myself in the subject matter of unique and historic places, and fabulous geography. I love to draw and enjoy the challenge of translating and capturing the abbreviated character of three-dimensional things on to paper. I am interested by how our view is often interrupted or obscured; even within an open landscape, and the way that we are able to look ‘through’ obstacles. Varied large structural elements attract me. I relish exploring scale.

I am lucky to have had the experience of rural Wales, coastal towns and major historical cities to inspire me.

I paint in watercolour and oil paint, using a very limited colour palette, but I am most fond of drawing in ink. Sketchbooks are a vital part of my practice. I am becoming increasingly aware that my better work is made en plein air.

47 - A Corner Of The Garden - Susan M Barber

48 - In The Alder Wood - Susan M Barber

I’ve always loved painting and drawing. For thirty-something years since completing my Fine Art Degree I used a large chunk of my free time to maintain this interest. However, since I was given early retirement in 2014, I have been lucky enough to be able to devote far more time to my artwork. My main inspiration is the unexpected beauty of the world around us. On any day, in any place, the light, colour, patterns and textures can combine in such a way as to make you want to reach for your sketchbook and pencil case.

I think that’s why I love drawing so much – you don’t need fancy equipment or expensive materials, (although there is some wonderful stuff available), a biro and the back of an envelope will do. The directness of drawing is great; you draw, you get it wrong, you look and draw again!

49 - Plan For A Bath House - George Bolwell

I have studied Art at Camberwell College and Architecture at The Bartlett. Currently working as an architectural designer, I continue to draw wherever I can.

My work studies irrationality, both in the human condition and the natural world.

The drawing ‘Plan for a Bath House’ is taken from a series of fictional building plans. The image is a representation of an architectural environment in which bodies, undergrowth and the parts that make up a bathhouse are melded together.

Intended to trigger the human, and sometimes subconscious, interpretations of an existing image the drawing is the result of a process that takes visual cues from a collaged base layer. Part chance part judgement, the work is intended as a record of growth and process rather than a polished, preconceived (or even finished) outcome.

  

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Oriel Ynys Môn
Rhosmeirch
Llangefni
Ll77 7TQ

Phone: +44 (0)1248 724444
Fax: +44 (0)1248 750282
Email:orielynysmon@anglesey.gov.uk


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