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Hanlyn Davies

Hanlyn Davies

Hanlyn Davies lives and works in New Haven, Connecticut, USA. Born in Gorseinon, Wales, he attended Swansea College of Art, UK, and later earned his Masters of Fine Art from the Yale University School of Art. His work has been widely exhibited in the USA, Europe, and Asia, and it is represented in numerous public and private collections. Davies’ work has been recognized with two Artist Fellowships from the National Endowment for the Arts, and with awards from the Massachusetts Arts Foundation, the Brandywine Offset Institute in Philadelphia, The Welsh Arts Council, and Yaddo Colony.

He is the recipient of an Honorary Fellowship from the University of Wales Swansea, UK, and a Distinguished Teaching Award from the University of Massachusetts, Amherst, where he also chaired the Department of Art for ten years

SELECTED COLLECTIONS

Aichi University, Tokyo, Japan; The Arts Council of Great Britain; Boston Museum of Fine Arts, MA; Courtauld Institute of Art, London; Glasgow City Art Gallery, UK; Indianapolis, Museum of Art, IN; Library of Congress, Washington DC; National Library of Wales* (a complete Portfolio representing sixty-five print editions); National Museum of Wales; Newport Museum of Fine Art, UK; New York Public Library, NY;  The Welsh Arts Council; Yale University Art Gallery, CT;

Hanlyn Davies
The ‘Brynteg Lights + Darkness’  Photogravure Portfolio  - 2015


The Portfolio
The ten photogravure images that comprise Brynteg Lights + Darkness explore a sense of place, history, and personal identity as related to my family home on Brynteg Road in Gorseinon, Wales, and in particular, the lighting that serves to illuminate the subject matter. Following the death of my parents, I revisited this home several times for the necessary ‘sorting out’ of the house and its contents, and perhaps not surprisingly, sorting out my relationship to both. The circumstances dovetailed easily with my long-established interest in themes of journey, duality, departure and return, absence or presence, loss, uncertainty and flux, as well as the rub of inevitable finality.
The images use a combination of abstract pictorial invention and actual representation, juxtaposition, and sometimes sardonic humour within fictive constructs, to depict ways in which past events, places, spaces, objects, conversations, the tall-tales told, can linger on to trigger intense reverberating images in present day memory and emotional life. Prominent in that mix are the stories, objects, and mementos that serve as pungent touchstones for visualization and the dangerous territory of memory.
The images were photographically derived from my very large-scale paintings. I wanted to make small, black and white prints that echoed the paintings but in this case provide a closeness and more intimate viewing, with the monochromatic colour range adding to the melancholic drama of the lighting situations. I would like the images to offer compelling experiences, memorable and relatable images for the viewer.

The Printmaking Process 
Photogravure is an intaglio printmaking or photo-mechanical process whereby a copper plate is coated with a light-sensitive gelatin tissue which had been exposed to a film positive, and then etched, resulting in a high quality intaglio print that can reproduce the detail and continuous tones of a photograph.
Photographic images of the paintings were scanned into the computer, then digitally re-worked and modified in Photoshop, before being transferred and etched on to copper plates by an expert plate-maker. The plates were hand printed by a master printer on Rives BFK rag paper, each image in an edition of 30, with 5 Artist’s Proofs.

 

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