Seascapes 2016-19

Bryony began her professional painting career painting the sea by capturing it’s vast scale and steely strength; her seascapes are about how in life things with beauty are not always fragile. The sea has the ability to have destructive powers whilst appearing to be beautifully tranquil, these paintings aim to hold up a mirror to the modern world. Exhibted in The Red Lobster Gallery, Sheringham, Norfolk in Summer 2019.

Floral 2016/17

Bryony’s floral works are about how flowers can spring up suddenly overnight and look as beautiful as if they were there all along. The paintings suggests that everyday is a new start, and you have no reason not to approach a new day with the vivacity and radiance of a newly flourished Rose. Some of these paintings pick out how our perception of beauty fades with age, yet our inner beauty flourishes. 

A selection of these paintings have been featured in ‘House and Garden’ magazine, ‘The Artist’ magazine, and exhibited in both Norfolk Galleries and  Patchings Open Art Competition 2018.

Woodlands 2017/2018

Bryony states “I am fascinated by the ability of nature, more specifically woodlands, in the role of aiding treatment and recovery from mental health conditions. This can sometimes be called a ‘woodland wash’, as the smell of pines and the feeling of fresh air against your face can help you feel better in times of decline. My aim was in my paintings was to portray a range of emotions experienced in mental health conditions, as well as giving the viewer the feeling of immersing oneself in nature without having to leave home.”

Social Spaces 2018

A meeting point between being alone and being lonely. Bryony’s series on social spaces focuses on the feeling of being alone in a room full of people, but does this mean you are lonely? Take a seat in one of the paintings to find out… Exhibted at On The Wall Art Space, North Creake, Norfolk in Summer 2018.

Behind The Clothes 2019

 Often without a face, Bryony’s aim is to showcase the female form in its truest state whilst keeping the subjects identity unknown. By removing the identity of the sitter, it helps the viewer to engage and connect with the painting on a personal level, often holding up a mirror to see themselves in direct confrontation. In todays western culture, we are often striving for physical perfection, but as this is becoming more and more out of reach, these paintings hope to engage the viewer to see the world through their own eyes rather than to attempt perfect illusionism.  

The works are not created to be beautiful, although some of these may appear to be, they are created to show the discordance between what we are born to be and societies pressure to modify this. The honest and bold brushstrokes aim to exhibit the beauty of the natural body, whilst the garish, saturated flat pattern show the battle we face to conform to todays beauty standards.The paintings should be hard to look at, as for many people, it is a mirror of what we see facing back at us. 

Exhibited at Muse, The Cliff Hotel, Gorelston On Sea during Spring/Summer 2019.

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