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    Paul Brewer


    Portrait of a Lady with an Ermine
    22nd February 2021


    Closed eyes trying to imagine that my face is peaceful
    4th April 2021

    ​

    "These are both digital drawings, and not photographs, using a digital technique similar to airbrush painting. These images are virtual, and have no existence outside the computer."

    Paul Brewer

    Closed eyes trying to imagine that my face is peaceful

Paul Brewer
    Portrait of a Lady with an Ermine

Paul Brewer

    Gustavius Payne

    Primal Instinct

    Oil on canvas, 41x30cm, 2020.

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    In His Arms

    Graphite on paper, 21x14cm, 2021.

    Primal Instinct

Gus Payne
    In His Arms

Gus Payne

    Jacqueline Alkema

    The Shell

    24x32cm, Pastel on paper, 2021.

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    Sea (E)scape 
    23x31cm, Pastel on paper, 2021.

     

    "These pastels were produced in lockdown. I had not been able to go to the coast for over a year and swim in the sea, so these pastels are in fact my fantasy of being there". 

    Jacqueline Alkema

    The Shell

Jacqueline Alkema
    Sea (E)scape

Jacqueline Alkema

    Michael Organ

    ​

    Double header and two flights
    Mixed media, 150x90cm.

    Double header and two flights

Michael Organ

    Angela Kingston

    'Flight 2' series

    45x30cm.

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    'Flight 3' series

    30x25cm.

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    Both mixed media.

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    "Using the natural world of my garden, I painted and drew the flowers of Spring from primrose to late summer - evolving through time to abstract and the essence.
    As flowers faded, I started making installations from garden finds. This  work was new to me, completely absorbing and exciting, helping to get through the long year of the pandemic.
    I now combine 3D & 2D using new materials with new works."

    Angela Kington.

    'Flight 2' series

Angela Kingston
    'Flight 3' series

Angela Kingston

    Thomasin Toohie

    Camper

    Ceramic, 5x7 inches.

     

    Frozen eloquence

    Ceramic, 11x11 inches.

    Camper

Thomasin Toohie
    Frozen eloquence

Thomasin Toohie

    Maggie James

    Socially Distanced: Cliff top 

    Pencil on lining paper, 112x150cm.

     

    Socially Distanced: Cliff edge

    Pencil on lining paper, 76x56cm.
     

    Socially Distanced: 
Cliff top

Maggie James
    Socially Distanced: 
Cliff edge

Maggie James

    Ken Dukes

    Time...of the day

    Charcoal on arches paper, 43 x 62 cm, 2021.

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    Three levels ,Six Bells Red
    Oil on canvas, 75 x60 cm, 2021.

    Time...of the day

Ken Dukes
    Three levels, Six Bells Red

Ken Dukes

    Alan Salisbury

    Self Portait with Gremlins with Referenceto work by Hans Eworth dated 1550.

    Oil on board, 45.5 x 63cm, unframed.

    ​

    Bouquet of Vegetables with Reference to the Still Life Tradition.

    Oil on board, 48 x 69cm, unframed

    Self Portait with Gremlins with Reference to work by Hans Eworth dated 1550.

Alan Salisbury
    Bouquet of Vegetables with Reference to the Still Life Tradition.

Alan Salisbury

    Sue Hiley Harris

    Spaced Apart I

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

    ​

    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

    Spaced Apart I
    Spaced Apart I

    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

    Self Portrait Mocked by Birds
    Capel y Ffin / Hydref

    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​

    Open book Lockdown 2020
    Foxglove spotted caves

    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.

    Cresset Stones
    Cresset Stones

    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

    Reflecting on the Paradox

    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

    Easement
    Lockdown

    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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    Gwyn's shed

    Lynne Bebb

    Garden Therapy

    Ink and water soluble wax pastel, 15x10cm

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    All at sea

    Mixed media, 15x10cm

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    It seems that I have been in a kind of limbo since lock down. At first it was the panic of sorting out food deliveries coupled with the worry that we might catch this awful virus. Now the days merge into one another. I alternate  between panic and lethargy unable to concentrate, to commit to anything major. I feel a mounting panic coloured with anger at the chaotic response, the deaths and the incipient climate of hatred. We are all isolated and at sea with little hope of rescue. I am grateful that we have a garden. It has been a haven and a solace. Growing things, especially food is affirmative, an act of optimism and a small way to take action.

    Lynne Bebb

    Garden Therapy
    All at sea
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