Bronze Medal Prize

Time:2014/1/9 19:30:17 View:2044

Bronze Medal Prize ($4923+Medal),Slipping into the Shadows, 52×65cm, Angus Maywood Mcewan (UK),The Prize Mentioned by Andy Wood



I value time and the way it affects everything. It reveals character within all that it touches. The worn beauty which is slowly coaxed out of peeling paint, rotten wood, rusted implements or wind torn rock appeals to me.

I am recording the past as it presents itself to me now. A moment before it is finally extinguished. I try to present a view of the neglected, a beauty that is inherently hidden by our attitude towards old, broken or discarded elements of the past. I want to give them value again.

I want to record them, but I also want to do so with emotion. I want to say something about my subject matter and as such embellish, change, modify, emphasize and sublimate in order to get my message across.

Sublimate in order to get my message across.

Although a mirror is supposed to reflect truth, it also changes that which we look at. Similarly an artist who reflects on the world around him must also change and interpret his version of truth. It is the role of the artist to be more than a mere recorder of facts but to be an editor and conductor of many facets that produce an interesting image.

It is my interpretation of the subject and therefore like the mirror I may reflect upon that subject but at the same time I'm compelled to change it.

I seek knowledge and I use my travels to inform my work. It is a pleasure to work in watercolour and I find it extremely biddable. It will do the most unexpected things and it is that, which keeps me interested. I revel in the serendipity that emerges from exploration of subject and medium. I love its calligraphic quality.

I enjoy describing everything with the utmost care and attention. I take as long as it needs for the image to reach a level that satisfies on many levels, but most importantly for me; does it entice the viewer to take a closer look?



This is a painting that invites the viewer to discover beauty in the commonplace. On the face of it, it is simply a door - a little neglected, in need of a coat of paint, but not so badly that it is no longer fit for purpose. The door is locked with a simple brass padlock so that the viewer (and even the artist) is barred from going through. We have no idea what is on the other side but there is a sense that someone or something is pushing against the door, trying to get in or get out.

The artist brings great skill to his work. There is a formality of design and execution that echoes the work of artists as diverse as Vermeer and Rothko. Carefully observed texture, colour and form that somehow manages to be both cool and engaging. Every part of the painting is given the same care and attention to detail, every element is precisely placed. Colour too is used with great subtlety to direct the viewer around the painting. The full range of tonal values are utilized to create the illusion of the texture and depth but the handling of the medium never allows us to forget that this is a painting and a watercolour painting at that. While firmly rooted in the realist world, the painting somehow bridges the figurative and the abstract, its formality gives the work its abstract qualities while the delicacy and sensitive handling remind us that it is a representational work.

In our everyday lives, we walk past similar things without giving them a second look or a second thought, but here the artist has stopped and looked and decided to make this the subject of his painting. By so doing and by treating his subject with loving care, he makes us stop with him and wonder too at the sublime beauty of the ordinary and everyday.

Andy Wood, RI. RBA