Clive Hicks-Jenkins at MTG

In addition to the paintings that will be on the Martin Tinney stand at the forthcoming London Art Fair, these are some works of mine presently available at the Martin Tinney Gallery, Cardiff.

Turn of the Tide
Clive Hicks-Jenkins RCA
Acrylic on panel 2010  41 x 63 cm

Wolf Boy
Clive Hicks-Jenkins RCA
Acrylic on panel 2010  56 x 61 cm

My Dream Farm
Clive Hicks-Jenkins RCA
Acrylic on panel 2011  60 x 128 cm

Detail from My Dream Farm

The Rapture
Clive Hicks-Jenkins RCA
Acrylic on panel 2011  153 x 122 cm

Detail from The Rapture (modelled by my dog, Jacket)

Sleep Fall
Clive Hicks-Jenkins RCA
Conté pencil and acrylic on arches 2011  57 x 53 cm

The Angels in their Anguish
Clive Hicks-Jenkins RCA
Acrylic on panel 2010  112 x 82 cm

How to find the gallery

Martin Tinney Gallery is situated in Cardiff city centre, less than 5 minutes walk from the National Museum of Wales. There are several car parks immediately nearby, and Pay and Display on-street parking directly outside.

18 St. Andrew’s Crescent
Cardiff
CF10 3DD

Tel +44 (0) 29 2064 1411

e-mail: mtg@artwales.com

OPENING HOURS

Monday-Friday, 10:00-18:00

Saturday, 10:00-17:00

Closed Sundays and Bank Holidays

19 thoughts on “Clive Hicks-Jenkins at MTG

  1. Wow, a stunning collection of images. The Rapture is one of my very favourite paintings of all time. Every time I look at it my love for it deepens some more. Going to the London Art Fair on Saturday. Can’t wait. Always a treat to make the acquaintance of your works I’ve admired on the Artlog and get to know them that bit better.

    • I don’t know who will be on duty at the fair. Probably Martin himself, and possibly Myfanwy or Mair from the gallery. Do introduce yourself and say hello.

      Alas The Rapture won’t be there, I should think probably too big for the limited space of the stand. I’m touched by your enthusiasm Phil, though that’s a mighty big claim you make for it as one of your ‘very favourite paintings of all time.’ Wow!

      (-:

  2. Clive these are really stunning, luminous. “Rapture” is just that; “Sleep Fall” evokes so many emotions, I think it might be one of my favorites. Good to see these, lucky patrons.
    LG

    • Thank you for your enthusiasm and encouragement Leonard. Interesting that you like Sleep Fall so much, because it was a composition birthed out of maquettes, a technique I’ve pretty relentlessly nudged you to familiarise yourself with. (And indeed you have, with impressive invention and to great effect!)

  3. Oh, that’s a splendid bunch! I would like to live with that rich child’s imagining of “My Dream Farm” but will have to dream it instead… I am glad that I got such long looks at your show while it was hanging because I can remember pieces in good detail.

    Your “The Rapture” must be waiting to find its proper home. I’d love to see that one go to a public collection, but a home setting would be delicious for somebody–what a joy to look into its vertical shaft of air and earth when passing by in a room.

    • I recall with great pleasure watching you at the National Library in those days leading up to the exhibition, quietly taking in the paintings as everyone around you went about the work of unwrapping, condition-checking and hanging. It was probably a good time to be gazing, before the distraction of the opening and the gallery thronged with guests. Your writer’s eye sought out and safely stored visual stimuli, making bridges between images and ideas for you to play with later. So many times I’ve been taken aback by your capacity to sift through and make sense of tales I’ve shared with you, slotting my past together with the paintings to conjure revelation and poetry in equal measure.

      I’ve been lucky in those who’ve written about my work and my life. Anita Mills has the artist/curator’s eye for connections, and is endlessly curious and insightful about the threads between my work in the theatre and what came later at the easel. (She made me see and appreciate, where before I was secretive and dismissive about my past.) Your chapter in the monograph on the miraculous, hers on drawing and Kathe Koja’s on maquettes, eloquently and imaginatively captured my creative processes, presenting ideas to readers that were revelatory even to the artist. There can be few painters who feel as well accounted for as I do in the monograph essays, and it’s a relief that whatever comes after me, I had the good fortune in my time to fall among extraordinarily sensitive listeners, and that they thereafter wrote so beautifully.

      I really like that last description of yours in the comment above… ‘vertical shaft of air and earth’… lovely!

  4. Oh I wish…….. I will never forget seeing ‘The Rapture’ in the flesh, I was blown away by the colours, so wonderfully vibrant. The Dream Farm too, I love it, it transports me back to childhood, I hope you sell them to someone I know!

    • There are some paintings that have gone to where I have visitor rights. Green George is in a private collection here in Aberystwyth, and I’ve been known to pay it a call.

      I’m glad you like My Dream Farm so much Liz. It was a painting very close to my heart. I owned that farm… or something very like it… when I was child. It was a Christmas gift from my parents, and I think it must have been German or Czech, because it didn’t look very British. In the painting I’ve taken liberties. The farm… which is the building on the left… and the windmill were together, but I separated them for the sake of the composition. One day the farm disappeared from my room. My parents got rid of things when they thought I was outgrowing them, and my rocking-horse went the same way. But I never outgrew that farm, and I’ve never stopped loving it. It was my ‘Rosebud’!

    • Thank you Mathijs. Of course it’s very big and requires a lot of room, and the subject of Tobias and the Angel will have limited appeal. But no, there has been no taker. I was very pleased with the work when I finished it, and I’m slightly saddened it hasn’t yet found favour with a purchaser. One day perhaps.

      • Sadly space is something we are not gifted with, otherwise… oh and we don’t have much cash either. The story of most art lovers lives. At least I get to have a brief ownership through your blog.

        I love the story of Tobias and the Angel (first encountered in Verrocchio’s altar piece, 1st year uni). I love the colours in your version of the story, also the dynamics of the figures.

        • It’s a fact that I try to lend temporary ownership of work to those who visit the Artlog, which is why I sometimes make daily postings of works in progress. (As I did with The Rapture.) It seems the democratic thing to do. The fact is that not even I get to own my work for very long. The Rapture on completion was here for less than a week, and has been with my dealer ever since. One of the excitements of my sixtieth birthday retrospective in 2011, was tracking down twenty years worth of work, none of which had been in my possession for more than the briefest time. Paintings and drawings scattered across the world to collectors and collections were gathered at the National Library for the three-month exhibition, and I found myself covetous of images that had long ago departed the studio. I poured myself into the past, trying to commit to memory details of works I’ll probably never see again. A strange thought.

          Peter says there’s an owner for every painting I produce, and that they just need to be found. The Rapture has yet to find its owner, but I know there’s one out there for it somewhere. I’ve missed it a lot since it left here, but that’s the fate of all the paintings I produce. In some way, once they’re out there in the world, they belong to everyone and no-one.

            • Thank you so much. I’m greatly touched by that sentiment. It’s most thoughtful of you.

    • Hello stranger! I thought we might see you in the Alphabet Soup exhibition. I think many people got waylaid by all the responsibilities of the season. Next time we make a mixed exhibition at the Artlog, we might do well to steer clear of Christmas. Anyway, good to hear from you Suzanne, and a Happy New Year.

      Your description ‘swoon’ made me smile. Let’s hope that the work may have a similar effect at the London Art Fair, with perhaps some sales as a result. Fingers crossed!

      (-;

      Love
      C x

      • believe me ‘swoon’ sums it up!
        yes- Alphabet Soup – i so wanted to join in but life was full of dust and boxes and my brain had turned to blancmange. We’ve been renovating a house in Cardiff and moved in towards the end of Nov. The clock was ticking towards Christmas. Next event please count me in!
        Good luck at the London Art Fair. I’m sure they’ll be swooning in the aisles. x

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