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ABOVE MG239 Infinity Pool mixed media 21x21cm - SOLD
  • LEFT MG261 Still Standing mixed media drawing on panel 18.5x20.5cm
  • MIDDLE MG268 Double Horizon Prana oil on canvas 78x78cm - SOLD
  • RIGHT MG265 The Space Between small work on paper with mixed media and collage
  • LEFT MG263 Columns small drawing on plaster 15x14cm - SOLD
  • MIDDLE MG260 Quettehou Triptych drawing on plaster
  • RIGHT MG257 Be Kind mixed media on plaster relief 41x41cm
  • LEFT MG266 Nordic Study 1 small mixed media work with collage on paper
  • MIDDLE MG267 Prana (Autumn) oil on canvas 61x61cm
  • RIGHT MG262 Edgy Relationship small drawing on plaster - SOLD
  • LEFT MG264 Kissing small mixed media drawing on paper
  • MIDDLE MG243 Lost Love mixed media 31x31cm
  • RIGHT MG248 Lightfall 1 oil on canvas 56x66cm - SOLD
  • LEFT MG244 Lyric mixed media plaster relief 51x51cm
  • MIDDLE MG245 Delphi Study 1 plaster relief 13x18cm
  • RIGHT MG249 Exodus mixed media on plaster 31x31cm - SOLD
  • LEFT MG250 Wall drawing FfL mixed media on plaster 31x31cm
  • MIDDLE MG251 Wall Drawing C7 mixed media on plaster 76x76cm
  • RIGHT MG247 Into a Deeper Mystery mixed media on plaster 31x31cm
  • LEFT MG246 Delphi Study 2 plaster relief 8x13cm
  • MIDDLE MG240 Two Red Squares mixed media 21x21cm - SOLD
  • RIGHT MG241 Birds mixed media on plaster 41x41cm. - SOLD
  • LEFT MG242 The Summer that was mixed media 31x31cm
  • MIDDLE MG259 Turnaround small mixed media drawing on canvas
  • RIGHT MG258 DIANA mixed media on plaster relief 51x51cm
  • LEFT MG253 Finding Space mixed media on plaster 92x92cm
  • MIDDLE MG256 Wall Drawing M mixed media 21x21cm
  • RIGHT MG254 Tic-Toc mixed media on plaster 61x61cm
  • LEFT MG255 Livadia Wall Drawing mixed media 21x21cm - SOLD
  • MIDDLE MG252 My lucky Number's White mixed media on plaster 76x76cm
  • RIGHT MG237 The First day (Perdka) oil on canvas 84x102cm
  • LEFT MG238 Lightfall 2 oil on Belgian linen 56x66cm - SOLD
  • MIDDLE MG269 Prana 16 oil on canvas 61x61cm
  • RIGHT MG270 Prana 15 Longing oil on canvas 60x90cm
  • LEFT MG271 Far and Away oil on canvas 100x100cm

Michèle Griffiths

Having grown up with two languages and feeling confident in neither - overcoming this by teaching both - Michele Griffiths realized that her best language was painting. At Wimbledon, she had excellent painting tutors, including Prunella Clough, and she consciously rejected wordy conceptual art in favour of the purely visual.

Michele has been a Stour Gallery artist for the past decade and the variety of these new paintings displays the scope of her artistic development in this time.

MAKING a MARK

M I C H E L E  G R I F F I T H S  ARTIST'S STATEMENT  March 2016

I first started making what I called "Wall Fragments" in response to the time worn walls of villages I visited regularly on Greek islands. Looking closely, I found them just as interesting visually as the more obvious beauty all around. I made textured surfaces which I repeatedly scored and scuffed, drew and painted on, then overpainted; thus replicating the random marks made on the real walls and their annual whitewashing. 

Metaphorically, these works signify the processes of time: imprints of human experiences: the things that have marked or injured us, the things that happen to us by chance and are then obliterated by forgetting and the things that have marked us so deeply that they cannot be eradicated.

The major commission I completed in 2014 was of 12 large paintings and, although sharing the same general source i.e. the light and environment of the Aegean, and many superimposed layers, those ones were of fine oil glazes on a very smooth surface. This kind of work has an ethereal, numinous quality.

My subsequent return to developing the "Wall Fragments" was fired by the visceral effect they have on me. The process of using plaster which I work on while it is still setting, as well as afterwards, keeps me very alert. Unlike the meditative state induced when working in oils, the methods entailed, which I am constantly inventing and developing, make me feel fully alive in an exciting, physical way and they allow me to say more. Though possibly less accessible than the 'seascapes', they are truly mine. I am finally following the advice of my tutor at Wimbledon, Prunella Clough, to "be less polite".

An important part of my working process is the conscious 'shaping of the indelible'. That is to say: seeing how all the different random marks, lines graffiti, numbers etc can make formations; a kind of symmetry, an aesthetic order groped for intuitively. It is a way of making sense of the apparently arbitrary and random, a way of making meaning.

I am mindful of Baudelaire's aim in his poetry to 'find gold in the mud' and also of Racine's motto:" faire quelque chose de rien".I deliberately use simple materials and basic tools.

Sculpting tools I have inherited from my grandfather, who came from a long line of monumental masons/sculptors, have been useful for scoring and working into the plaster. I can remember as a small child seeing his men engraving lettering in marble and I have always been interested in handwriting and developing my own. This way of working enables me to incorporate this as well as elements of language (I speak 4) and poetic concepts derived from my first degree (Cambridge) which was mainly literature.

The move to a very old house, with its patina of nearly 300 years of dwellers visible on the uneven and asymmetrical walls all around, has no doubt also contributed to the feeling of rightness about this new body of work. I have also long been interested in old graffiti i.e. marks made by ordinary people, to testify to their existence or for other reasons, and have recorded them over the years with photos from different places and countries.

Our village church happens to  have 18th century graffiti and also crosses scored into pillars which are said to have been made by Crusaders. The same kinds of crosses can be found in other local churches and in Chichester Cathedral. In chapels in Normandy, I have found many drawings of ships, some dating back to the 16th century, scored into pillars. It is presumed they are votive offerings, made by sailors for the safety of their vessels. I find running my fingers over these graffiti strangely moving, as they are such a direct link with people long gone, but sharing the same urge as myself to make their mark.

I hope that the people who see my own wall paintings/drawings will similarly share a sense of connection, and will themselves not be afraid to touch them.  

 MG March 2016

In 2014: Major Commission for P&O of 12 large oil on canvas paintings, now on permanent display aboard the cruise liner Britannia, in the top deck restaurant The Epicurean.

In 2015: Selected for The Discerning Eye at The Mall Galleries with 4 new works on plaster

 

Exhibitions include:

Royal Academy of Arts Summer Exhibition, Mall Galleries, Art Brussels, Turin Art Fair, Morley Gallery, Woodlands Art Gallery, 20/21 International  Art Fair, Art London,  Affordable Art Fairs, Christie’s (Art for Life), Vertigo, Chambers Gallery, City of London, Hicks Gallery, SW1 Gallery.

The Stour Gallery, Warwickshire, group or solo shows annually since 2002.

Solo Exhibitions include:

Village Hall Gallery, Wimbledon, London

Nicholas Bowlby Fine Art, in London

The Stour Gallery, Warwickshire

The Colonial Gallery, London

The Eger Gallery, London

Eltham  College, London

Other Exhibitions include:

SWI Gallery, London

20/21 International Art Fair at the Royal College of Art, London  

Nicholas Bowlby Fine Art, London

Affordable Art Fair, London

2 paintings selected independently by Jackie Wullschlager, Chief Art Critic of the Financial Times,

and Gus Cummins, RA for The Discerning Eye Exhibition at the Mall Galleries, London.

Royal Academy of Arts Summer Exhibition, Mall Galleries, London

Art Brussels

Turin Art Fair

Morley Gallery, London

Woodlands Art Gallery, London

Art London, 

National Gallery of Mongolia,

Affordable Art Fairs, Christie’s (Art for Life), London

Vertigo, Chambers Gallery, City of London,

Hicks Gallery, London

The Stour Gallery, Warwickshire annually since 2002.

Features:

Galleries Magazine: Editorial by Nicholas Usherwood

Artists and Illustrators magazine: full length feature article(April 2007)

Work held in private collections: in the UK, France, Japan, Canada and USA

And at St George’s Hospital, Tooting, London.

 

 

 

 

 

 






 

 




 

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