Carne Griffiths’ most recent original works see him using embroidery thread to give them a three dimensional element. Angie talks more about the works below.
One of the first things that struck me about
Carne Griffiths’ most recent original portraits was surprisingly not the fact they have a beautifully executed element of embroidery thread running through them, but the bolder, brighter and more vibrant colour palette he has introduced over the past year or so.
Previously, Carne’s paintings were predominantly made up of varying subtle tones of blues and browns; the result of ink blending into tea to create some really quite beautiful washes. More or less everything he produced was made up of these tones, and he became renowned for working with these specific colours. Then towards the end of 2013 came works such as the now sold
Unveil, which saw a sudden introduction of a vibrant purple that seemed to transform Carne’s creations from peaceful and earthy to energetic and spirited. Using special paint pens, he found a way to continue to work in his signature style and technique while broadening the colours he worked with, and the works that followed were brighter and bolder through the appearance of yellows, oranges and pinks.
Alongside this new way of working with colour came the introduction of embroidery. Having previously had a successful twelve year career as an embroidery designer for high profile clients and Savile row tailors, this direction was a natural one for Carne, and the way he incorporated the thread into the works made it look like it was always meant to be there.
The stunning
Summon is a fantastic example of this. As the androgynous-looking subject glares out from the surface of the paper, fireworks of purple explode from around the face to create movement. Then, emerging from these gestural marks, come controlled lines of thread. Evenly placed and forming orderly lines across the page, they act as a stark contrast to the random splatterings of paint that surrounds them. By creating this juxtaposition of elements, a sense of organised chaos is created, giving off mixed emotions and perhaps the suggestion that the featured character is controlled, yet unpredictable.
The slightly more subtle
Crystalline is another favourite of mine. With a beautiful blend of sapphire blues, amethyst purples and amber yellows, the jewel-coloured rainbow in this piece creates a perfect framing around one of the subject’s eyes and down towards the jawbone, the mirroring side left open and bare to create an asymmetry that may suggest a split personality or mood. Again embroidery is used to balance the irregular markings created by the somewhat uncontrollable flecks of paint, which almost grounds the piece; the fact that the thread is sewn through the surface of the paper reiterating this feeling of stability.
Beautifully presented in white box frames, these recent works from Carne are amongst his strongest yet, and as one-off pieces, provide the chance to obtain something unique by the artist.
If you would like to view any of the pieces in the flesh, we’ll be showing a selection of Carne’s work, including exclusive Eyestorm edition
The Escape, at art fairs in London, New York, Toronto and Hong Kong between March and June. Alternatively you can see them at Eyestorm HQ in London, please
get in touch to arrange a viewing.
See all available works by Carne Griffiths online
here.