Paul Brewer

Well composed

Private View

We live in our mobile phones

Digital drawings.

 

Printed copies are available, using a digital drawing technique similar to air-brush painting I used in the 1970s.

Paul Brewer

Gustavius Payne

End of the Line

The Word Of God

Hector and Daisy's Dream

All graphite on paper, A3 size.

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Part of the Ox Series, which is being developed as a future publication. The images acompany poetry by Martin Hayes who conceived the project. 'Ox' is a prolateriate character struggling to survive a brutal political reality. 

Gustavius Payne

Dilys Jackson

Cone Sphere

Paper

Thomasin Toohie

Sea fret making outlines soft

Oil, 20x16"

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Thought he'd found the rainbow's end

Oil, 16x20"

Alan Salisbury

Self Portrait Mocked by Birds

Oil on Board, 69 x 60cm unframed

 

This painting was completed just as lockdown regulations came into practice. It is loosely based on a small postcard reproduction from an engraving by Martin Schongaeur titled ‘Owl Mocked by Birds’ (Circa 1435-91). Ornithologists will know that this is a well known occurrence; small birds defend their nests and territory from the threat of preditors. Replacing the owl with a portrait of myself and then getting mocked for doing so within the pictorial narrative had a certain comic appeal.
However, original intentions sometimes get subverted by the making of the work as it progresses over time. The responses of outside viewers can also be revealing. Some have subsequently observed that the birds seem very ‘chirpy’ and frolic rather than threaten. I don't see this as problematic as it is usually a good sign when an image has room to accommodate individual interpretations.

 

With the benefit of hindsight I wonder whether this image has a foreboding prescience with regard to the current situation we find ourselves in. Our normal social interactions with other humans are regulated and seriously curtailed and we are left to commune with whatever we can see or do in our gardens!

​Alan Salisbury

Jacqueline Alkema

Nightshade

Poinsettia

Duindistel - Melancholia

All charcoal and pastel on paper, 5 x 4'

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Sue Roberts

Soap stone figure 1

Soap stone figure 2

Alabaster Figure

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Ken Dukes

Another time, another place

Oil on panel, 19x19cm

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From Mynydd Aberdar

Oil on card, 14x21cm
 

Anthony Evans

Sgwd / Chwefror

Acrylig / cynfas, 65x63cm

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Cymoedd / Hydref

Olew / cynfas, 75x75cm

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Capel y Ffin / Hydref

Olew / cynfas, 88x68cm

Sue Hiley Harris

Spaced Apart I

Graphite, charcoal and indigo-dyed paper yarn, 20 x 20 x 2 cm.

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Much of my work is concerned with line, space and form. Spaced Apart is particularly concerned with personal space and social distancing which have become so central to our lives. It uses paper yarn that I had tie-dyed with indigo many years ago and rediscovered during a studio spring clean in lockdown.

Sue Hiley Harris

Angela Kingston​

‘Open book Lockdown 2020’
Ink, 21 x 14 cm
‘Foxglove spotted caves’
Watercolour, 12 x 12 cm

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Self isolation started 17 March.
Having worked for many months on ‘Across the Valleys’ I came to a sudden halt due to the anxiety and fear of this very frightening virus.
17 March I started with this ‘Open Book’ doing small drawings almost every day - adding daily to each page.
This led to using my garden flowers as small single paintings.
We weren’t going out and I found I liked the safe and  secure feeling of my garden and studio which began a whole new series of works. The work is becoming more abstract. I plan to continue in this way until the autumn leading to larger paintings in other media.

​Angela Kingston​

Jacqueline Jones

Seated Woman and Cat

The Yellow Chair

Wendy Earle

"Cresset Stones"
Cast Coloured Cement and Wax Candles, 

100 X 55 X 25cm

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There is a splendid Cresset stone in Brecon Cathedral.
They were used not only for casting light but as a vessel for Votive Offerings.

Jennifer Allan

Reflecting on the Paradox

Oil on Canvas, 113 x 70 cm

Although I began this painting before the official lockdown, the greater part was completed after it had begun - the isolation led to fewer interruptions and distractions which I have appreciated.    

 

The ‘Paradox’ referred to in the title came about as a result of the way the work was made which was using four mirrors.  The central body of the work is the reflection of a reflection, the edges of the canvas are straight reflection and the small head is reflection of a reflection of a reflection.   In the process of starting to paint the edge of the canvas in the part that was representing the painting of the painting, I discovered there was nothing to paint except the support bar of the easel and I realised the image didn’t exist until I painted it and I couldn’t paint it until it existed  - hence my Paradox. 

 Jennifer Allan

Kay Keogh
Lockdown 
Mixed media, 30x35 cm
 

Easement 
Mixed media, 30x 35 cm

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Painting in lockdown has been difficult to say the least for me, I just didn't want to PAINT! I was worried and thought well that's it then, I've  enjoyed seeing lots of my talented friends turning out beautiful work....but nothing new from me. I will have to stop then, give up? THEN  with  lockdown easing, it came back! Strange how differently  we all have been affected by this ....so this was my efforts and I can honestly say it felt like they painted themselves.

Kay Keogh

Veronica Gibson

Gwyn's shed

Oil on wood, 22 x 28cm, £340 framed

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Fortunately I have an allotment, which is my garden, and during 'lockdown' I spent many hours there along with other 'allotmenteers'. With a result that my plot is thriving. I am particularly keen to paint the paraphernalia, including the creative home-made sheds. I have painted allotments now for twenty years and in some ways recorded their gentrification.

Veronica Gibson

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