Monday, 25 November 2013

The RWA '161st Annual Open Exhibition'

It has been an mildly anxious couple of months of waiting since I applied to the Royal West of England Academy's renowned Annual Open Exhibition. Of some 2500+ artworks submitted this year, only around 500 were eventually chosen. So, I was naturally delighted to learn that my work had made it through the final selection process and would be hung at this prestigious event.

The exhibition opened this weekend with a bustling private view event and I was completely overcome by the shear amount of inspiring and diverse artwork that was on display. My piece is situated in the Methuen gallery:

So, for a second chance to see my latest work 'A Cause for Celebration' on display, be sure to plan a visit to the RWA before 24th January 2014. 

For more information:

Wednesday, 31 July 2013

'In Living Colour' group exhibition

I am very excited to be included in the upcoming group show 'In Living Colour' that will be showing at the Grant Bradley Gallery in Bristol from 3rd - 31st August with the private view taking place on Friday 2nd August from 6pm. I am exhibiting a new large scale ink drawing entitled 'A Cause For Celebration'. The piece marks a departure from my previous work and stands as a precursor to a wider body of work that is currently in development. 

See the flyer below for details: 


Thursday, 11 April 2013

Tips for successful life drawing (part one)

I figured it would be a worthwhile exercise for me to explain some of the self-devised approaches to life drawing that have evolved in my subconscious over the years. I am aware that there is a rich abundance of tuition freely available on the internet regarding drawing methods and it is not my intention to repeat what has already been said so concisely before. What I want to outline instead is some of the insights that have surfaced in my experience and that continue to work for me. I cannot say if these approaches are right or wrong, but they may be of some help: 

Above: 'Figure 11' by Rhys Eggleton. See more life drawings here

Triangulate – whenever I need to accurately place an element in a drawing without an obvious nearby reference point, I visualise the points of a triangle to help me confidently place it.  This basically involves staring at the model and picking out two clear points that have already been drawn. I then superimpose an imaginary triangle that connects these two points to a third, which is the element I intend to add. I focus on the angles and proportions of the triangle and then translate the observation to my drawing by lightly marking where the third point of the triangle would fall.

Pull back – sometimes if what I am attempting to render is complex I tell myself to ‘pull back’. In doing this my concern shifts from the daunting task of depicting intricate detail to capturing the gestalt (the overall wholeness) of the subject. It is a way of zooming out and simplifying what I am observing. I make a conscious effort to avoid slipping into ‘tunnel vision’ which can occur when fixating on a small area for too long. This can lead to a massive disparity of quality within a drawing because other areas are usually neglected of attention or rushed as time runs out.

Shorthand – with the pressure of a timed pose efficiencies need to be found in order to have a resolved drawing at the end of the session. I commonly shade small areas to their approximately tonal value and then lightly indicate the boundaries of these respective areas which I can revisit and complete after the model has finished posing. It is like leaving a visual shorthand note for myself whenever I discover an area that does not necessarily require strict observation. This frees up precious time for me to focus on the more essential elements that add gravity to the piece, such as; the gesture, the features etc.