Interview with artist
Carne Griffiths
Working primarily with calligraphy inks, graphite and liquids, such as tea, brandy and vodka Griffiths’ fascination with drawing focuses on the creation and manipulation of the drawn line. Images explore human, geometric and floral forms, in a combination of both literal and abstract translation and in response to images and situations encountered in daily life. Images are recorded in a dreamlike sense onto the page where physical boundaries are unimportant. His work creates a journey of escapism which focuses on scenes of awe and wonder, projecting a sense of abandonment and inviting the viewer to share and explore this inner realm.
Carne Griffiths is an Ambassador for St Cuthberts Mill.
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'Dark Energy' by Carne Griffiths
(Calligraphy inks, tea and pigment on Bockingford 535gsm paper) |
Interview with artist Carne Griffiths - 2016
Tell me about when you decided to go “pro”. When did you decide to
dedicate yourself to your art. Give us an example of what that meant to you.
(What pushed your artwork from amateur level to professional?)
I decided to go full time as an
artist in 2010, I’d been working as an embroidery designer for 12 years and had
created some work in the background but hadn’t really considered that pursuing
a career in art would be sustainable.
Whilst still working the full time job I held an exhibition of some
large scale pen and ink drawings, and I enjoyed creating these so much that I
thought why not give it a try!
I decided that I would dedicate a year
to pushing my art forward and within several months I had started to receive
some positive feedback and had a chance to get my work in front of a number of
galleries. Primarily I showed work with
Inkd gallery in Brighton and Eyestorm, both of which were giving positive
feedback about the works I had presented.
It was only when I sold a number of original works in a month that I
realised it may be possible to make a living as a fine artist.. so this was the
beginning of the Journey.
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'Trouble' by Carne Griffiths
(Ink, tea, graphite and pigment pen on Bockingford 535gsm paper) |
Please
state which St Cuthberts Mill papers you use and why?
I use Bockingford paper, primarily
535gsm Cold Press (NOT) - I just love the way it reacts with the materials I
use and also the punishment the surface of the paper will withstand.
How
does the use of these papers enhance your work?
Bockingford paper maintains a crisp
surface for fine pen work even after layering liquids such as tea boiling water
alcohol and ink, It allows the build up
of layered work without disintegrating and provides a surface which I can both
add and subtract colour from. It’s
lifting properties are excellent and it reacts well to strong graphite marks
leaving powerful and deep grooves in the paper without buckling or tearing.
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'Protection' by Carne Griffiths
(Ink, tea, graphite and fine liner on Bockingford 535gsm paper) |
Is
there an artist you admire, did they inspire you to be an artist yourself?
I went through college
with friend and artist Dan Baldwin, he inspired through his work ethic and
approach to art, 100% whole heartedly and earnestly painting from the day I met
him to the current time. Being around
someone with this much dedication and vision is inspiring and also helps you
realise what is possible when you push yourself to the limit.
Do
you remember the first painting you did that you were really proud of?
I think ‘Strength’
because it was a rescued painting. It
went through a stage of destruction and came back to something quite
delicate. It made me realise that in
painting, like in life, it is overcoming problems and difficulties that helps
you push through boundaries. There is
nothing worse than safe painting. An
artist must take risks.
What
memorable responses have you had to your work?
I am fortunate to receive a lot of
feedback on the work, the important thing for me is not to give more gravitas
to where this comes from. I enjoy
observations about the work no matter where they come from, whether it be a
trained artist a critic or someone who professes no interest in art. In an exhibition in 2011, a guy walked into
the exhibition crossed the room and made his way straight to a piece called
acceptance. He came over to talk about
the piece. He had ‘no real interest in
art’ but was drawn to the image. I
really enjoy the power that art can have in this way, and I always aim to make
art that is accessible and honest.
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'Hope' by Carne Griffiths
(Ink and tea on Bockingford 535gsm paper) |
What
are you working on right now?
I am creating work for a number of
group shows and experimenting in the studio with some works on nature.
What’s
the one painting you’ve painted that you will always keep?
I am not
precious about my paintings, I create them to be enjoyed, but I have a piece
called poppy which is painted to remember my Grandad. It now belongs to my Son and I hope that he will never sell it,
it’s an emotional work but reflects hope and fragility.
What
advice would you give to yourself, the artist you were 10 years ago?
Experience
life, go out and do crazy things, be hungry to experience the world. Every one of these experiences will channel
through what you paint.
Anything
else you'd like to mention that I didn't ask?
Paint
through it!
We'd like to thank Carne Griffiths for doing this interview with us -
To view more of his amazing work head over to his website! http://www.carnegriffiths.com/
For more info about Bockingford paper:
For more info about
Saunders Waterford paper:
