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My working life started off with me serving as a Russian linguist in the Royal Navy - a lot of my training was at the now famous Bletchley Park. However, I later went on to spend the majority of my career as a Creative Director, Writer and Producer within the film and television industry. I have won awards both here, in the UK, and in the United States for my work with computer animation.
A couple of years ago I decided to become a full-time artist working in my studio in the middle of Winchester. In that time I have experimented with all sorts of image making using a variety of tools from paint brushes to pencils; scissors, paper and glue. And of course my Mac. My work has been short-listed for the National Open Art competition 2-years running. And I have also exhibited in a number of London galleries as well as further afield. |
Nobody knows how it's done - but this is what I do
The process I use for my limited edition prints starts with the subject fundamentally being deconstructed. I then begin to rebuild it using many different layers, usually in excess of twenty, allowing me to give attention to specific details as the subject is brought back to its former glory. The resulting print is then reverse mounted on to acrylic, which not only allows the colours to ‘pop’ but affords a level of protection from harmful UV light thereby keeping the colours vivid and fresh for many decades.
David Hockney had this view: In the end nobody knows how it's done — how art is made. It can't be explained. Optical devices are just tools. Understanding a tool doesn't explain the magic of creation. Nothing can.
After studying thousands of prints of the great masters, Hockney came to the belief that the proportion and detail were too precise to be done without assistance. His conclusion was that these painters had used various tricks - including special lenses, a darkened room and special mirrors - to project the image of their subjects onto the canvas; the painter then just had to trace the image projected. Because the image is projected upside down, the painter would then set the painting upright to finish the details. His theory caused outrage among some in the art world, who felt he was diminishing the skill required to create these iconic paintings.
The results of my beavering are here for you to enjoy.
Day to day I just like to have fun creating and experimenting - if you click here you will see some of those experiments. And my Flickr site goes back through the mists of time. To a time when dinosaurs roamed the Earth. Shortly before we were hit with a huge rock and it all went dark for a bit.
I work a lot with my partner, Rae-Sarah Weedon, and we have a joint website here: www.weedon-williams.co.uk
The process I use for my limited edition prints starts with the subject fundamentally being deconstructed. I then begin to rebuild it using many different layers, usually in excess of twenty, allowing me to give attention to specific details as the subject is brought back to its former glory. The resulting print is then reverse mounted on to acrylic, which not only allows the colours to ‘pop’ but affords a level of protection from harmful UV light thereby keeping the colours vivid and fresh for many decades.
David Hockney had this view: In the end nobody knows how it's done — how art is made. It can't be explained. Optical devices are just tools. Understanding a tool doesn't explain the magic of creation. Nothing can.
After studying thousands of prints of the great masters, Hockney came to the belief that the proportion and detail were too precise to be done without assistance. His conclusion was that these painters had used various tricks - including special lenses, a darkened room and special mirrors - to project the image of their subjects onto the canvas; the painter then just had to trace the image projected. Because the image is projected upside down, the painter would then set the painting upright to finish the details. His theory caused outrage among some in the art world, who felt he was diminishing the skill required to create these iconic paintings.
The results of my beavering are here for you to enjoy.
Day to day I just like to have fun creating and experimenting - if you click here you will see some of those experiments. And my Flickr site goes back through the mists of time. To a time when dinosaurs roamed the Earth. Shortly before we were hit with a huge rock and it all went dark for a bit.
I work a lot with my partner, Rae-Sarah Weedon, and we have a joint website here: www.weedon-williams.co.uk