30 x 25cm, acrylic on canvas
My small canvas studies base on the monochrome illustrations in Cesar Ripa’s iconologia continue. These are learning aids in a way, embedding postures, fabric folds and symbolic elements in my muscle memory to enhance my improvised drawings.
Allegory of Fidelity, acrylic on canvas, 30 x 25cm.
the main composition is borrowed from the moral emblem in Ripa’s Iconologia.
Allegory of The Beginning, acrylic on canvas 30 x 25cm
main pose of the figure and symbolic element of the letter and small man in the creators hand borrowed from the Iconologia.
During my MA studies (Grays School of Art, 2019-2021) I was fortunate to receive a an award from the Royal Scottish Academy to spend time studying in Florence.
I took the opportunity to visit this autumn, and was in my element visiting chapels particularly to investigate the fresco’s of Giotto, Daddi, Gaddi, Masaccio and their workshops. Opened up a way forward to develop my methods of narrative drawing.
A highlight for me was the Palazzo Vecchio, which I visited a couple of times to admire the murals.
I will of course add some photos of my time there, and the outcomes, but for now here are so images of my journey from Elgin to Florence: Train from Elgin to Aberdeen- Bus from Aberdeen to Edinburgh bus station- arrive around 1am- start walking from Edinburgh bus station towards the airport- walk past Haymarket and Murrayfield- walk a few miles and give to wait for a bus, sweating through my hoodie and jacket- bus to airport, try to doze sitting against wall- early flight, self conscious about sweaty ness from big walk, fly to London, couple hours wait, eat a burger- fly to Florence, even more self conscious of sweaty stinkiness and regretting not just getting a bus to Edinburgh airport in the first place- arrive in Florence, tired but happy.
For years I have periodically painted still life paintings of skulls. Sometimes these have taken a vanitas approach incorporating incorporating other symbolic elements (flowers/coins/ objects) to suggest a narrative or deeper meaning to the viewer.
More frequently they are something of a portrait of the skull where it is the sole or primary aspect of the composition .
In addition to attempting to develop a striking image, these paintings function as a form of painting practice, where I try to develop aspects of my skill and techniques.
Below are some recent examples:
As mentioned in previous posts, around 2017 I produced a number of illustrative paintings inspired by Patrick Suskind’s novel “Perfume”.
Prior to painting I produced a series of works on paper in biro or pencil, to develop the compositions in an improvisatory manner.
I’m pleased to announce that I am one of the recipients of this years Royal Scottish Academy ‘John Kinross Scholarship’.
This enables me a grant to study in Florence for a period up to 12 weeks. I intend to visit next summer, primarily to study frescoes, any Caravaggio I can lay my beady eye on and, hopefully, old master drawings- drawing being very much at the root of my practice.
November also saw the presentation of the Gray’s Postgraduate showcase “Onwards” at the Look Again project space in Aberdeen.
For this curated presentation of the MA course, the work of mine selected was the triptych. “An Amicable Separation”, gouache, watercolour, acrylic .
“We’re all in the same boat, but some of us aren’t getting our feet wet”, acrylic on canvas, 30 x 60cm
This study for a larger painting was painted a couple of Prime Ministers ago, during the reign of David Cameron. An allegory of class disparity.
And the 70 x 100cm painting it spawned, which is difficult to get a photo of due to reflections on the dark paint.
As part of my practice I sometimes make landscape studies. The reasons vary from documenting the passage through time and space (in my walking drawings), sourcing potential locations and elements for inclusion as setting for later narrative works, to the enjoyment of applying paint to mimic colour combinations, texture and interesting lighting effects.
I have added a gallery here and otherwise stated all works are available. Enquiries can be made to matthewgwells@outlook.com
The first series added consists of 25 studies of the Moray coastline painted in acrylic on card, around A5 size.
Around 2018 I embarked on a project producing drawings and paintings illustrating scenes inspired by Patrick Suskind’s novel “Perfume, the story of a murderer”.
The novel centres around an orphan named Grenouille who has a highly developed olfactory sense, despite possessing no odour of his own. His search for containing fragrance results in depraved activities culminating in mass murder.
All paintings are available unless otherwise stated, email: matthewgwells@outlook.com
Watercolour and ink on canvas, each £60
The largest painting (below) was damaged and subsequently destroyed, however it is available in digital form as an NFT, both static, in various stages of disintegration or as an animated gif. Available from Opensea.io
Matt Wells Art 