An account of the posters and events of Swansea’s Climate Strike Protest September 2019.
On a grey overcast day, when the clouds seemed always about to descend on us, we drove to a smart red Georgian house by Lough Gartan, near a place called Churchill (Irish: Mín an Lábáin). This is Glebe House. It had been the home of the English-born artist Derek…
A painting of a stall at Stroud market covered in colourful bottles. The sunshine has illumated the bottles and the sneezing stallholder.
Markets provides me with inspiration. There are lots of things to look at, the light, in particular, is what attracts me, whether it’s indoors or outside, there is always lots of natural light at a market. I also like the distracted people, and also the bright colours of the stalls and the people shopping or sitting outside at cafes (both in summer and winter).
Last night I received a lovely present from one of the pupils of Brynmill school who was inspired, after my talk with her class, to paint one of my paintings. I was absolutely charmed and delighted by this gift.
I am sometimes asked for advice on how to sell art online. To be honest, I feel like there is so much I don’t know about Art marketing but I did sell over 200 pieces, originals and prints last year. Half of these were direct sales to collectors so something’s working. Marketing and selling art takes an enormous amount of time (at least 50% of my day is spent on marketing) and effort but the great thing about it is that the longer you do it the more followers and fans you will gather.
I recently painted two commissions that quite different from the typical paintings of animals or landscapes. My portrait of Kim Jong Un drew a strong reaction from some observers.
I have had an ambivalent relationship with painting clouds. My approach to painting clouds has been transformed by looking at and painting Irish skies.
I have painted five “cow portraits” in all, recently. Here they are. I have enjoyed getting to know them as individuals, their long history in art and human society, and especially painting them.
In last two thousand years the cow has gone from a symbol of sacrifice, service and strength, to a commodity and a status symbol and most recently in the work of Hirst, to something whose dismembered carcass is designed to shock and repulse viewers.