Hardback book 144 pages, 300x240 mm CMYK, Printed on 150gsm Gloss Art and colour blocking. For sale at £10 plus P&P with all proceeds to Teenage Cancer Trust.Malcolm Attryde
(vanished works series) 7" x 5"
Paper, Cloth, Ash, carbon paper pulp, acrylics, needle & thread.
Paper, Cloth, Ash, carbon paper pulp, acrylics, needle & thread.
The function and use of cistae are still unresolved questions. We can safely say that they were used as funerary objects to accompany the deceased into the next world. It has also been suggested that they were used as containers for toiletries, like a beauty case. Indeed, some recovered examples contained small objects such as tweezers, make-up boxes, and sponges.
Old Land (Varnished Works Series)
6 x 4 Soil, Acrylics and Water colours.
6 x 4 Soil, Acrylics and Water colours.
TRINKET ( vanished works series)
6" x 4" paper, acrylics, gold leaf, cellotape & foil.
6" x 4" paper, acrylics, gold leaf, cellotape & foil.
Keepsake
254mm x 178mm
Plaster, acrylics, ash, slate, wire wool & found objects.
254mm x 178mm
Plaster, acrylics, ash, slate, wire wool & found objects.
ASHES TO AETHER (Vanished Works)
Acrylics, wood hardener, paper, ash, soil and plaster.
16" x 12" on board.
Alchemy, natural philosophy, and early modern physics proposed the existence of a medium of the æther (also spelled ether, from the Greek word (Éø?É∆‹Éœ) aether, meaning "upper air" or "pure, fresh air", a space-filling substance or field, thought to be necessary as a transmission medium. The assorted aether theories embody the various conceptions of this "medium" and "substance".
Aether originally was the personification of the "upper sky", space and heaven, in Greek mythology.
Acrylics, wood hardener, paper, ash, soil and plaster.
16" x 12" on board.
Alchemy, natural philosophy, and early modern physics proposed the existence of a medium of the æther (also spelled ether, from the Greek word (Éø?É∆‹Éœ) aether, meaning "upper air" or "pure, fresh air", a space-filling substance or field, thought to be necessary as a transmission medium. The assorted aether theories embody the various conceptions of this "medium" and "substance".
Aether originally was the personification of the "upper sky", space and heaven, in Greek mythology.
Lost In Translation
Manipulated image, detail from "Lost In Translation", as an idea for a possible book cover design.
Acrylics, paper, found materials 32" x 24" on board.
Manipulated image, detail from "Lost In Translation", as an idea for a possible book cover design.
Acrylics, paper, found materials 32" x 24" on board.
Not Difficult in Fine Weather (2)
Canvas, Acrylics, Wax, Wood, Oil Filler, Flour, Compass, Plaster, Can, Spoon. Boxed assemblage.
Canvas, Acrylics, Wax, Wood, Oil Filler, Flour, Compass, Plaster, Can, Spoon. Boxed assemblage.
.gif)
Plaster, Marbling ground, Acrylics, Enamels. 32" X 17"
The word Window originates from the Old Norse ‘vindauga’, from ‘vindr – wind’ and ‘auga – eye’, i.e. "wind eye". In Norwegian, Nynorsk and Icelandic the Old Norse form has survived to this day (in Icelandic only as a less used synonym to gluggi), while Swedish has kept it—mostly in dialects—as ‘vindöga’ (‘öga – eye’). Danish ‘vindue’ and Norwegian Bokmal ‘vindu’ however, have lost the direct link to ‘eye’, just like window has. The Danish (but not the Bokmål) word is pronounced fairly similar to window.
Window is first recorded in the early 13th century, and originally referred to an unglazed hole in a roof. Window replaced the Old English ‘eagþyrl’, which literally means ‘eye-hole,’ and ‘eagduru’ ‘eye-door’.
The word Window originates from the Old Norse ‘vindauga’, from ‘vindr – wind’ and ‘auga – eye’, i.e. "wind eye". In Norwegian, Nynorsk and Icelandic the Old Norse form has survived to this day (in Icelandic only as a less used synonym to gluggi), while Swedish has kept it—mostly in dialects—as ‘vindöga’ (‘öga – eye’). Danish ‘vindue’ and Norwegian Bokmal ‘vindu’ however, have lost the direct link to ‘eye’, just like window has. The Danish (but not the Bokmål) word is pronounced fairly similar to window.
Window is first recorded in the early 13th century, and originally referred to an unglazed hole in a roof. Window replaced the Old English ‘eagþyrl’, which literally means ‘eye-hole,’ and ‘eagduru’ ‘eye-door’.
BIRD ORNAMENTS (detail)
Mixed media on wood & canvas.
Signature piece from "On Land" exhibition at Rochester Gallery 17 January - 15 March 09.
Mixed media on wood & canvas.
Signature piece from "On Land" exhibition at Rochester Gallery 17 January - 15 March 09.
BEGINNINGS (For F.W.A)
Everything must start somewhere, and for me the beginnings (1) of my creative journey started in my Grandfathers shed (2). When I became old enough my Grandfather introduced me to what seemed like an Aladdins cave of marvels, tools, strange substances and materials, a wealth of old, broken, worn out and discarded objects. In this environment I was allowed and encouraged to create all manner of flights of fancy and imaginings.
(1) The act or process of bringing or being brought into being; a start.
The time when something begins or is begun
The place where something begins or is begun: at the beginning of the road.
A source; an origin.
The first part: The front matter is at the beginning of the book.
An early or rudimentary phase. Often used in the plural: the beginnings of human life on this planet.
(2) “Shed: Humble, improvised and practical architecture in which dreams are dreamt and made real. The archetypal English retreat; a meditative space; a place of solitude. Icons of sustainability. Symbolic of a particular breed of independent, visionary and creative thinker also of hope, defiance and resilience. Laboratory of the resourceful. Home to the marginal and maverick, to inventors and innovators who pursue ideals despite the state’s and industry’s lack of faith and/or financial backing. Intriguing and strangely magnetic, sheds allow us to revisit our childhood reveries of secret hideaways, to enter our own private world; to commune with nature and our own selves”
Russell Mills
Boxed assemblage using re- purposed and found objects, acrylics, soils, paper and acids.
Everything must start somewhere, and for me the beginnings (1) of my creative journey started in my Grandfathers shed (2). When I became old enough my Grandfather introduced me to what seemed like an Aladdins cave of marvels, tools, strange substances and materials, a wealth of old, broken, worn out and discarded objects. In this environment I was allowed and encouraged to create all manner of flights of fancy and imaginings.
(1) The act or process of bringing or being brought into being; a start.
The time when something begins or is begun
The place where something begins or is begun: at the beginning of the road.
A source; an origin.
The first part: The front matter is at the beginning of the book.
An early or rudimentary phase. Often used in the plural: the beginnings of human life on this planet.
(2) “Shed: Humble, improvised and practical architecture in which dreams are dreamt and made real. The archetypal English retreat; a meditative space; a place of solitude. Icons of sustainability. Symbolic of a particular breed of independent, visionary and creative thinker also of hope, defiance and resilience. Laboratory of the resourceful. Home to the marginal and maverick, to inventors and innovators who pursue ideals despite the state’s and industry’s lack of faith and/or financial backing. Intriguing and strangely magnetic, sheds allow us to revisit our childhood reveries of secret hideaways, to enter our own private world; to commune with nature and our own selves”
Russell Mills
Boxed assemblage using re- purposed and found objects, acrylics, soils, paper and acids.
Experimental Pieces
Experimental textural pieces on A4 paper, mixed media, acrylics, water colours, salt, enamels, acids and PTFE oil.
In the process of manipulating them digitally to produce a variety of different effects/layers and then transferring them to acetate sheets to be used in a number of light boxes that are in the planning stage.
Experimental textural pieces on A4 paper, mixed media, acrylics, water colours, salt, enamels, acids and PTFE oil.
In the process of manipulating them digitally to produce a variety of different effects/layers and then transferring them to acetate sheets to be used in a number of light boxes that are in the planning stage.
Not Difficult In Fine Weather (1)
One of an ongoing series inspired by the exploits of Captain Robert Falcon Scott, his team and their bid to reach the South Pole, and principally the Huts they called home for many months at a time during their exploits. What intrigued me was the juxtaposition of every day items, and certainly at that time household names amongst scientific and exploration equipment, feats of great heroism and hardship surround by the mundane.
The title of the series is a quote from Scott’s Diary.
“The Beardmore Glacier is not difficult in fine weather, but on our return we did not get a single completely fine day; this with a sick companion enormously increased our anxieties.”Surely an understatement in itself. Cape Evans hut along with a number of others at the South Pole are falling into a state of decay and will without intervention be lost forever. I find it difficult to believe that these time capsules of such great historical and scientific value can be ignored and allowed to slip away.
I felt that I needed to produce a series of works to raise the awareness of the possible fate of these iconic artefacts of exploration and Britains history.
www.savethehuts.com
Acrylics, canvas, wax, pitch, wood and flour. Framed and glazed 2’ x 1’10”
One of an ongoing series inspired by the exploits of Captain Robert Falcon Scott, his team and their bid to reach the South Pole, and principally the Huts they called home for many months at a time during their exploits. What intrigued me was the juxtaposition of every day items, and certainly at that time household names amongst scientific and exploration equipment, feats of great heroism and hardship surround by the mundane.
The title of the series is a quote from Scott’s Diary.
“The Beardmore Glacier is not difficult in fine weather, but on our return we did not get a single completely fine day; this with a sick companion enormously increased our anxieties.”Surely an understatement in itself. Cape Evans hut along with a number of others at the South Pole are falling into a state of decay and will without intervention be lost forever. I find it difficult to believe that these time capsules of such great historical and scientific value can be ignored and allowed to slip away.
I felt that I needed to produce a series of works to raise the awareness of the possible fate of these iconic artefacts of exploration and Britains history.
www.savethehuts.com
Acrylics, canvas, wax, pitch, wood and flour. Framed and glazed 2’ x 1’10”
You Don't Ask Me Why !?
Size: 17" X 21" framed & glazed. Soils, rust, acrylics, water colours, paper, and re-purposed materials/objects. The origins for this work are in communicating or the lack/breakdown thereof, despite our so called advances and development are we any more able or effective as a species to communicate or relate to one another ?
Size: 17" X 21" framed & glazed. Soils, rust, acrylics, water colours, paper, and re-purposed materials/objects. The origins for this work are in communicating or the lack/breakdown thereof, despite our so called advances and development are we any more able or effective as a species to communicate or relate to one another ?
Clocking Off
My inspiration came from the river and the dockyard, which during my younger years had featured so prominently. Many people I grew up with had some association with the docks. It was a potential place of work when I left school. This piece has a lived-in feel; reflecting the passage of time like a museum artefact. It contains symbolism of working lives, factories and the history of shipbuilding on the Medway.
My inspiration came from the river and the dockyard, which during my younger years had featured so prominently. Many people I grew up with had some association with the docks. It was a potential place of work when I left school. This piece has a lived-in feel; reflecting the passage of time like a museum artefact. It contains symbolism of working lives, factories and the history of shipbuilding on the Medway.
