Ffin Y Parc Gallery

Casa De Las Salinas is a 16th Century Renaissance period house in the centre of Seville. The central courtyard is designed in a traditional layout which has been used since Roman times, creating a cool and tranquil space. In the 16th Century the owners noble family Jaén, appear among the most active merchants and financiers in Seville.
The red ochre walled courtyard is adorned with Moorish, Medieval and Renaissance objects and architectual elements. A pair of dark Triana green jars to transport precious oils and spices sit upon iron trivets.

The spaces whispers of the past and the jars have a monolithic presence evocative of a strong soul and spirit.

Oil, mixed media and gesso on board 120cm h x 60.5 cm w

Inspired by the work of an anonymous (female?) artist "Virgen de Reposo" is housed in the Museo de Bellas Artes de Sevilla, in which the abundant branches of an apple tree shelter the resting Virgin and Child as the madonna hands the child a freshly fallen apple. The painting refers to the idea of the garden of eden, but the Madonna presents as a second Eve. The painting is ethereal and sensitive and the delicately painted subject matter refers to the the Christian doctrine of falling from grace and the salvation of the human race. For me the work is more about the connection of humanity and the beauty and gift of nature, of which I seek to represent in my own interpretation with a fallen apple below the apple tree.

Oil and gesso on board 120cm h x 60.5cm w

In the grand tradition of bringing citrus specimens from distant lands, I returned home with a remarkable fruit from the royal palace of Real Alcázares de Seville: a perfect 'Citrus Limon Osbeck' lemon from their historic citrus collection.

Dating back to the sixteenth century, the gardens of the Real Alcázares boasted both sweet and bitter lemon trees, particularly in the Garden of Cidral. The 1669 Chronicles of Cosimo de' Medici, recounting his travels around Spain and Portugal, mention the Tuscan Prince's admiration for these gardens. He marveled at the lemon trees in full bloom in December, calling it a great wonder.

The citrus collections were revered throughout history. The lemons embody the spirit and history of the gardens of Paradise in Seville, and dreams of warmer climes.

Oil, mixed media and gesso on board in antique frame. Framed size 40cm w x 35cm h Unframed size 28cm w x 22cm h

A small "Placa de Olavide" (Olavide Tile) or 'place name' tile within the antique collection of Casa De Las Salinas, a 16th Century palace in Seville.

The tile harks back from the reign of Charles III. In the mid-18th Century Spanish cities were notriously disorganised, a Royal Decree in 1768 ordered that streets were to be named and houses numbered. In 1771 under Don Pablo de Olavide y Jauregui, "Olavide Tiles" were implemented and Olavide commissioned the first detailed city plan. Walking around Seville you will spot these wonderfully graphic hand painted tiles on street corners and buildings adding to the essence of Seville.

Oil, mixed media and gesso on board in wooden frame Framed size 36.5 cm w x 40.5 cm h Unframed size 19cm w x 22cm h

In the great tradition of bringing citrus specimens from far flung climes I returned home with a windfall fruit from the royal palace of Real Alcázares De Seville. A perfect 'Citrus Limon Osbeck' Lemon from the great citrus collection.

In the sixteenth century there were sweet and bitter lemon trees in the gardens of the Real Alcázares, planted in the Garden of Cidral. In the 1669 Chronicles of Cosimo de Medicis around Spain and Portugal,the Tuscan prince narrates that he stopped to admire the vegetation: the great wonder of these gardens was however for us to find lemon trees covered with flowers in December... The citrus collections were so revered - it is known that The architect Vermondo Resta, who conducted much of the reform of the gardens in the early seventeenth century, was given everyday oranges and lemons and seasonal flowers from the gardens of Alcázar. These were some of the grants enjoyed by the architect as the greatest master of Seville’s palace. True treasure from the gardens of Paradise in Seville!

Oil, acrylic and gesso on board in antique frame 41 cm w x 32.5 cm h unframed 54 cm w x 46 cm h framed

Vibrant cerise peony flowers unfurl against shadows, the silouttes of date palm trees cast blue grey forms across white washed walls.

The work is inspired by the resplendent chiaroscuro and luminous qualities of the work of one of Seville’s lustrous Baroque artists ‘Bartolomé Esteban Murillo’, best known for his religious works but also capturing the soul and life of the place and people. in In particular after “Iconography of Porciúncula” - the miracle of celestial falling flowers from the heavens.

Oil and mixed media on Arches Oil Paper 130 w x 80 h cm unframed 145 w x 95 h cm framed

Fleetingly delicate papery blooms of papaver poppies swirl in contrast between light and dark in the heat of the Sevillian courtyard. Shadows of date palms and other botanics collected over centuries from far flung climes intertwine in a cacophony of beautiful movement and energy.

These blooms, even at the peak of their pomp and power cannot help but signal their decline. Their purpose is to attract, their destiny to decay. So here is work which is both articulate and instinctive, illuminating even when it is darkling…

The work is inspired by the resplendent chiaroscuro and luminous qualities of the work of one of Seville’s lustrous Baroque artists ‘Bartolomé Esteban Murillo’, best known for his religious works but also capturing the soul and life of the place and people. in In particular after “Iconography of Porciúncula” - the miracle of celestial falling flowers from the heavens.

Oil and mixed media on Arches Oil Paper 130 w x 80 h cm unframed 145 w x 95 h cm framed

A diminutive holy water font in a corner of the exuberant and imposing Giralda Cathedral in Seville. I often feel that the smallest details, such as this font have as much meaning and purpose as the beautiful grandiose opulence of the Baroque within the Cathedral. A moment of contemplation in simplicity and purity.

Oil, Indian Ink and gesso on board in antique frame 52 cm h x 35 cm w unframed 63 cm h x 48 cm w framed

17th Century pewter plate with pomegranate. The semi-reflective surface of the pewter plate holds luminosity. The objects are caught still and expectant in soft thin Winter light, delicately highlighting the dry spiky fronds of the thistles and holding the forms of the pomegranates.

Mixed media and oil on paper in glazed modern slim gold frame 70 w x 50 h cm unframed (71 w x 51 h cm framed) (Pomegranate in bowl with thistles)

The ground beneath my feet in much of Seville was strewn with fallen fruits, orange blossoms and leaves. Their image reminded me of the Roman mosaics or "Asaroton" deriving from a type known as 'the unswept floor' introduced by Sosus of Pergamum (c.150-100BC). The mosaics resemble a floor that has been covered in food after a banquet or a celebration; you can see fruit, figs, lobster claws, sea urchins and even a tiny mouse in the 'Asarotos oikos' mosaic which is housed in the Vatican. The objects are illuminated by multi-directional pools of light from imaginary candles giving the illusion of a real life scene which must have amused the Romans very much!

My floor has traces of red spilt across its surface. During the Semana Santa week processions of 'Brotherhoods' move slowly down the orange tree lined streets, the air was thick with the heady scent of orange blossom (azahres) mixed with clouds frankincense incense and candle wax from the huge 'Cirios' altar candles which are carried dispersing in their wake.
Late at night and early in the morning, before the City's streets are washed clean, the grey granite floors are coated in red wax from the processions and the oranges and their leaves scattered. An exhilarating experience leaving a lasting impression.

Oil, Indian ink and gesso on board in antique frame 73 cm w x 53 cm h unframed 89 cm w x 71 cm h framed

Deeply coloured peony flowers emerge from the shadows surrounded by illuminating Heavenly golden aureole.

The work is inspired by the resplendent chiaroscuro and luminous qualities of the work of one of Seville’s lustrous Baroque artists ‘Bartolomé Esteban Murillo’, best known for his religious works but also capturing the soul and life of the place and people. in In particular after “Iconography of Porciúncula” - the miracle of celestial falling flowers from the heavens.

Oil, mixed media and gesso on board in antique frame 76 cm w x 64 cm h unframed 107 cm h x 95 cm h framed

Dried thistles, 'Verre de Fougére' Medieval glass jug and 17th Century pewter plate with pomegranate. The semi-reflective surface of the pewter plate holds luminosity. The objects are caught still and expectant in thin Winter light.

Oil and gesso on board in antique frame 61 cm w x 45.5 cm h unframed 74.5 cm w x 58.5 cm h framed

31 w x 38 h cm (Framed 46w x 57 h)

Oil and gesso on board in gilded 17th Century Venetian Baroque Frame with shell, glazed with antique glass

46.5 w x 37 h cm (Framed 73 w x 58.5 h cm)

Oil and gesso on board in Italian early 18th Century frame, glazed with antique glass

115.5 h x 145 w cm (Framed 142 h x 171.5 w cm)

Oil, mixed media and gesso on board in gilded and delicately verdigris French Antique Early 19th Century frame

Moments of fleeting beauty are captured and mirrored - the tension between glimpses of pure joy in the every day revered. The arrival of Spring is signalled by the blousy peony flowers, abundant and expressive, their faces tilting to the stars. They feel expansive, incandescent like a new constellation in the nights sky or transported by a twighlight tide.

Mixed media and oil on Arches Oil Paper Glazed in Antique Frame

95 cm w 65 cm h Unframed - (Framed size TBC)

18 w x 25 h cm (Framed37 w x 44.5 h cm)

Oil and gesso on board framed in English gilded Composition Louis XVI Frame c.1850

The Iris creating delicate and fragile silouettes in the brightest lights. They visit fleetingly - like butterflies. Their dark purple hued petals are translucent making them feel diaphanous, weightless and intangible.

Oil, mixed media and gesso on board in Antique Frame

98 cm w x 78 cm h Unframed (Framed size 118 cm w x 99 cm h)

Fleeting sunlight, shadows and glimpses of the bluest heavenly skies. A celebration of harmony and beauty in nature. The simple humility of the sun drenched lemon has a delicate fragility. Pure joy in the everyday, we dream of warmer climes and bright days.

Oil, gold leaf and gesso on board in rare outstanding Venetian Baroque Antique Frame c.1740

33.5 cm w x 27.5 cm h Unframed (Framed 51 cm w x 46 cm h)

New Spring flowers, peonies and Fairy Lily dance together. Their shapes and forms imprint in my dreams. The abundance of these radiant flowers make my mind feel drunk with their beauty.

Mixed media and oil on Fabriano Paper

50 cm w x 70 cm h Unframed (Framed size 59 cm w x 79 cm h)

Oil and mixed media on Arches' Oil Paper. Unframed size 130 cm w x 83 cm h. Framed size 180 cm w x 94 cm h.

Oil and mixed media on Arches' Oil Paper. Unframed size 130 cm w x 83 cm h. Framed size 180 cm w x 94 cm h.

"Narcissus" 53 w x 58.5 h cm (63.5 x 68 cm Framed) Oil, raw verdigris pigment and gesso on board in antique frame.

Inula Helenium faces the sun.

Oil, raw pigment and encaustic wax on board in antique frame.

42 w x 63 h cm (Framed 75 w x 95 h cm)

Cadmium deep yellow sunflowers in French confit pot.

Oil, raw pigment and encaustic wax on board in antique frame.

57 w x 78 h cm (Framed 72 w x 93 h cm)

Oil, raw pigment, graphite and gesso on board in hand-painted antique frame.

102 w x 71.5 h cm (Framed 120 w x 90 h cm)

Oil, raw pigment and encaustic wax on board in hand-painted antique frame.

47.5 w x 40.5 h cm (Framed 68 w x 61 h cm)

Huge scale field of suflowers and their radiant crowns. Helios is the god of the Sun in Ancient Greek. The painting is full of light, energy and drama.

Oil, raw pigment, encaustic wax and gesso on board in antique frame.

152 w x 122 h cm (Framed 188 w x 157 h cm)

Raw pigment, oil, charcoal and gesso on board in antique frame.

80 h x 90 w cm. Framed 89 h x 99 w cm.

Oil and graphite on Archers Oil paint paper.

130 w x 82 h cm

Oil and graphite on Archers Oil paper.

130 x 82 cm.

Watercolour and charcoal on aquarelle paper.

35 w x 25.5 h cm.

Watercolour, charcoal and graphite on aquarelle paper.

50.8 w x 40.6 h cm

Watercolour and graphite on aquarelle paper.

35 w x 25.5 h cm

15 x 18 cm unframed

Oil and gesso on board.

Oil and gesso on board in antique frame.

Framed 115 w x 98 h cm (85 x 69 cm aperture)

Oil and gesso on board in antique frame.

Framed 75 w x 64.5 h cm (61 x 50 cm aperture)

Oil and gesso on board in antique frame.

Framed 56 w x 44 h cm (44.5 x 32cm aperture)

Oil and gesso on board in antique hand painted frame.

Framed 107 x 91.5cm

Oil and gesso on board in remade antique frame.

15 x 13cm (Framed 29.5 x 27cm)

Oil, graphite and gesso on board in antique Venetian frame.

Framed 131 x 156cm

Oil and gesso on board in remade antique frame.

15 x 13cm (Framed 30 x 27cm)

Oil and gesso on board in remade antique frame.

17 x 12.5cm (Framed 30.5 x 26cm)

Oil and gesso on board in remade antique frame.

17 x 12.5cm (Framed 31.5 x 28cm)

Oil and gesso on board in remade antique frame.

17 x 12cm (Framed 28.5 x 24cm)

Oil and gesso on board in remade antique frame.

17 x 13cm (Framed 28.5 x 24cm)

Oil and gesso on board in antique frame.

Framed 80 x 77.5cm

Oil and gesso on board in antique frame.

Framed 75.5 x 60cm

Oil and gesso on board in antique frame.

Framed 22 x 18cm

Oil and gesso on board in antique hand painted frame.

Framed 39 x 48.5cm

Oil and gesso on board in 18th Century Antique frame.

Framed 38 x 33cm

Oil and gesso on board in antique frame.

Framed 50 x 60cm

Oil and gesso on board in antique frame.

Framed 50 x 60cm

Oil and gesso on board in antique frame.

Framed 43 x 33cm

Oil and gesso on board in antique frame.

Framed 100 x 86cm.

Oil and gesso on board in antique frame.

Framed 87.6 x 68cm

Oil and gesso on board in antique frame.

Framed 36 x 44cm

The final humble flowers from the end of Summer. They dance with vibrancy, their faces smiling to the sun. The garden embraces it's own imperfection, a tangle of twigs, seeds and flower heads - and creates a new moment. There is a Northerly freshness to the air.

Oil and gesso on board.
19 cm w x 22 cm h unframed size.

Architectural delicate twigs and branches are revealed and accented by ice crystals from the first frosts. The vibrant cadmium Rudbeckia resemble bright stars and the skies are violet at dusk.

Oil and gesso on board.
19 cm w x 15 cm h unframed size.

The pale faces of spring, the feeling of rebirth. Magnolia and papaver poppies unfurl to reveal their delicate luminous and architectural petals.

Selene is the Greek Goddess of the Moon. In Greek mythology she can be found depicted in scenes with her beloved - Endymion, the shepherd - a beautiful man who is granted eternal youth and eternal sleep with sleep-inducing poppies. The myth of Selene and Endymion is one of fulfillment through unending sleep and yet Selene gives allusions to the changeless cycle of nature.

Soluble Aquarelle pencil and Artgraf pastel on Fabriano paper 69 cm h x 49 cm w unframed 85 cm h x 65 cm w framed

A pair of Medieval Siegberg earthernware pottery jug from my collection with pomegranate. Created from hard, nonporous ceramic which is both strong and impervious to liquids, the hand thrown shape was ideally suited for domestic purposes. A banal object with a vital importance to everyday life.

This work was created in the winter to spring months, many of the pieces painted in this period are inspired by my move to an old house in the countryside and a new feeling of calm and contemplation. The works have historic sentiment as the land and place surrounding me holds too. Here at Cayton, I'm surrounded by an ancient Medieval site, nearby there are the remnants of fish pools which used to serve the Cistercian Fountains Abbey. The lakes used to house one of the largest potteries where earthernware was made and fired on wooden jettys extending the waters edge. The sense of this place transmutes into the paintings, my medieval ceramic collection holds even more significance.

Oil and gesso on board in antique frame 41 cm w x 51 cm h unframed 57 cm w x 68 cm h framed