top of page
Originals - Further Information
My work is currently exploring an almost ‘ back to basics ’ approach to what truly drives me to create images . . . They are a ‘ stepping away ’ from the frequent obsession with detail in my work . I am loosening that grip that has always sought to bend the media and materials to my will or vision . . . seeking a more minimum interference approach that desires less aggravation and sheer driven intent in the way I work .
This is a condition I often find restraining and thus less capable of daring to take the hugely necessary risks that facilitate an environment in which you are always allowed to grow and expand your knowledge of the ideas , materials and stocks you use to create your images . There is also a desire to share my fascination with the alchemy of inks , pigments and solutions that I employ , a hope that by relinquishing a little control it will allow the media and materials own voice and particular characteristics to shine through , for they are truly immense and infinite in their own right . A painter whose work I love speaks of her paints being “ a much better painter than she is ” , and I enormously empathise with this . I all too often totally lose my rag with something I am working on and ‘ cast it down ’ to the floor only to find that gravity , force mass motion and my solution have conspired to produce a mark or series of marks far more interesting than those I was actually trying to bloody paint !
My recent Paintings are also a ‘ stepping away ’ from colour . . . in a modern world so relentlessly and intensely saturated with a constant barrage of imagery and colour I find myself returning to my long standing fascination with black and white or at least near monochromatic imagery . Most of my primary artistic influences over the years follow a strong monochromatic aesthetic ( I would categorically list my all time primary artistic influence to be the ‘ daubings ’ of Victor Hugo ) and this was also perhaps reinforced by my studies in black and white or toned photography . But perhaps more importantly in the works I am currently working on is a notion I had one day on the hill . . .
It was a blanket fog , and whilst stood there feeling overwhelmed with awe and deeply inspired to start somehow trying to sketch and capture the vague billowing forms around me , It occured to me that neither colour , form or detail were key characters in this adumbrative and ethereal landscape around me . . . the climatic conditions of the day had reduced all elements to a hundred shades of grey , and since I was little it has always been these kinds of conditions that I find most breathtaking and moving . . . waves in a sea fog , the hint of a coastline , gently moving treetops in mist , the soft line of a distant hill , the point at which atop some peak or section of moorland that you literally cannot tell land from sky . . . its as though my senses are most elevated by a ‘ suggestion ’ of what is there . . . by what I cannot quite see .



Having barely slept a wink until I was Forty . . . ( joke . . . but not half as much of one as you might think ! ) I am also and have always been deeply affected by the world at night . I have spent an unusually large proportion of my life out in the world at night . . . and have always since my early teens relished travelling on foot at night when the moon allows . . . a good moon can cast the world in a wonderful vivid half light that reduces the landscape to a limited palette of blacks , sepias , violets , blues and greys . . . and any sense of detail whether ‘ soft ’ or ‘ sharp ’ is rendered for the most part ‘ unseen ’ .
There is an overpowering sense of an entirely different world and a state of raised awareness at night that I find exhilarating . . . a familiar sight can be re-cast with a whole new set of airs , feelings and emotions that simply do not occur to you in the light of day . . . I have several times nearly shit myself lifeless at the nocturnal motions and reverberating sounds of what later presented itself merely as a wandering sheep , badger , deer or stag , feral dog, wild boar or hill pony . I have also frequently found myself wandering in what I thought were ‘ very familiar ’ locations but have somehow lost my way . . . found spots , features or paths , sheeptracks and routes that I have never stumbled across or at least ‘ noticed ’ stumbling across in daylight ! The dark plays tricks . . . on eyes , mind and spirit . . . and all the senses , innately and inherently open to the possibility of threat or danger in that darkness . . . in the ‘ unseen ’ . . . are most alive at night .
So whilst to most the idea of sketching by torch light may seem a tad unhinged , the world is almost certainly a very different place at night , and one with which I have always had a close relationship with . . . it seems to me one infinitely worthy of some attempt to portray it !
The pure fascination and wonder of artistic expression in ‘ all ’ its formats is surely that we , as human beings , are called upon and driven by an overpowering need to create . To invent , or tell , or simply to record stories , information and objects . . . to manipulate and render sounds and matter into formations , to make shapes and forms out of all known materials and elements . . . simply . . . to howl and shout and serenade , to recount by firelight our tracking of the deer , to hit animal skins with sticks and to daub on cave walls with ochre and berry juice . . . I believe every damn one of us is an ‘ artist ’ . . . and the world at night , perhaps devoid of the distractions and bustle of daylight . . . certainly makes me want to start chucking some ink around !
These Original paintings are created using various inks , pigments , solutions , charcoal , tannin , soot , found media and refined beeswax . The Originals are generally framed to my usual standard in Solid Oak . They are also generally available as ‘ Mounted Only ’ upon special request for those whose personal framing tastes may differ completely from my own ( excluding Boxframes for obvious reasons ) . Their individual particulars do vary according to each piece so please do feel most welcome to ask any questions you may have .
For any other enquiries please dont hesitate to contact me on info@barrymartinandrews.com



Contact
Barry Martin-Andrews
Hawthorn
Manchester House
3 Castle St
Hay-On-Wye
HR3 5DF
Hawthorn Gallery
General Opening Hours
 
Monday to Saturday - 10am till 5pm
 
Appointments available by arrangement
bottom of page
![barrymartinandrews_Header [Converted]-1.png](https://static.wixstatic.com/media/6472f4_6caa06d3c9da496e97452846d2c3e2ac~mv2.png/v1/fill/w_354,h_68,al_c,q_85,usm_0.66_1.00_0.01,enc_avif,quality_auto/barrymartinandrews_Header%20%5BConverted%5D-1.png)