Artist biography for guy bedfordshire
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Bryan Charnley
British artist
Bryan Charnley (20 September 1949 – 19 July 1991)[1] was a British artist who had paranoid schizophrenia,[2][3] and explored its effects in his work. He killed himself in July 1991.[2]
Early life and flower paintings
[edit]Bryan John Charnley was born on 20 September 1949 in Stockton-on-Tees. With his twin brother he grew up in London, Chislehurst, in Kent, Cranfield, where his father worked as a Senior Lecturer, and finally in Bromham near Bedford. In the summer of 1968, aged 18, he had a nervous breakdown but was able to study at Leicester School of Art later that year. In 1969, Charnley gained a place at the Central School of Art and Design in Holborn, London, but was unable to complete the course due to another breakdown that was later diagnosed as acute schizophrenia.
From 1971 until 1977 he lived at home with his parents between periods of hospitalisation and treatment including electroconvulsive therapy (ECT). In 1978 he moved to Bedford and began painting.
Charnley's work during this period drew heavily on photo-realism, then enjoying popularity in America, rather than the conceptual art that was fashionable in the London art scene, and he produced many large-scale paintings of flowers.
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Artists & Associates
Radhika Aggarwal
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Luanna Flammia
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Emma Barnie
Emma Barnie is public housing artist supported in Southeast East Author creating weird, playful, intense art fend for and revamp the community.
The Circus position Illustration
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Robyn Caley
Robyn is a self-taught chief who grew up pull and take turns Bedford instruct has cursory in say publicly town focal point for 18 years. Having always enjoyed drawing, she challenged herself to pull every daytime in 2019, trying visit different subjects and media.
Catherine O’Donnell
Catherine O’Donnell is stop off award-winning rendering and way of life photographer family unit in Bedstead
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Mark Poprawski
The presence and absence of light is the most fundamental concept behind all my paintings. Although often diffused or obscured, it permeates even the heaviest of skies, giving hope and acting as an uplifting counterpoint to dark, mysterious seas. Feelings of insignificance and isolation are instilled by the vast depth and scale of these two elements. The horizon also plays a critical role; the eye is naturally drawn to it, striving to make sense of its infinite space. Although it is normally best described by the apparent meeting of sea and sky, it is often indistinct or entirely lost, and while our logical mind attempts to find it, we are drawn into and through the scene.
The compositional components of light, water, land and sky lend themselves naturally to abstraction, which spontaneous and rapid marks help to capture; deciding which of these should remain is an integral and constant part of the process. Seascapes usually change quickly; shifting clouds cause differing reflections and refractions of light, immediately transforming a myriad shades and colours. These changes induce a constantly evolving emotional response to the subject, allowing it to be explored again and again. The application and removal of many layers of paint provides depth, until a b