Glyn Davies

Since graduating in 1972 I have followed a career in architecture, working in my own practice in Bath since the 1980s. However, painting has always been part of my life. I paint both in watercolours and oils and my subject matter is mainly townscapes, naturally influenced by my interest in architecture.  I have lived near Bath for the last 40 years and the buildings there have been a constant inspiration, not so much the formal crescents but the disorganized, hotchpotch of buildings clustered together on the hillsides. I enjoy painting architectural elevations of the back of Georgian buildings, and streets of artisan shops, which I find more interesting subjects than the facades of Georgian set pieces. Bath is surrounded by hills giving views of an urban landscape full of complexity and intriguing rhythms, with its jumble of roofs and chimneys and this has become another favourite subject for my paintings. The buildings in Bath have been a constant inspiration, not so much the formal crescents but the disorganised, hotchpotch of buildings clustered together on the hillsides. I enjoy painting architectural elevations of the back of Georgian buildings, and streets of artisan shops, which I find more interesting subjects than the facades of Georgian set pieces. Bath is surrounded by hills giving views of an urban landscape full of complexity and intriguing rhythms, with its jumble of roofs and chimneys and this has become another favourite subject for my paintings. Strong light and shade can emphasize the contrast between warm and cool colours such as slate or terracotta roofs and Bath stone, and subtle changes to these colours helps to create the perception of three dimensional space within the flat surface of a painting.  Some complex groups of buildings can only be seen with a telephoto lens from the surrounding hillsides, which may be up to a mile away. The resulting foreshortening creates a theatrical impression, particularly if the final image is composed of several separate photographs merged together. Each exposure may have a slightly different vanishing point for the same building, adding to the unreal effect by causing the buildings to appear more two dimensional but exaggerating the spaces between one surface and the next. The process of selecting interesting images, modifying them and transferring them to the canvas or paper is therefore an important part of the creative process where composition, forms and colours can be manipulated. In this way modern technology and techniques can be employed to represent subjects in ways that have not before been possible. I have been running my own architectural consultancy in Bath for about 30 years so I know the buildings quite well. I don’t think I will ever tire of painting this distinctive urban landscape and I look forward to being able to spend more time painting, not just the buildings but also the surrounding countryside. Awards : The painting ‘The Empire Hotel’ was awarded the watercolour prize at the Bath Society of Artists Exhibition in 2009. The oil painting ‘Hedgemead Park’ was awarded first prize at the Bath Prize Exhibition in 2009. The oil painting ‘Belgrave Crescent’ was highly commended at the Bath Prize Exhibition in 2010. ‘Hotwells Road Quayside’ was the winner of the Waterside Prize at the Bristol Art Prize in 2013. ‘Terrace Walk, Bath’ was awarded the Balmer Sterling Prize at the Bath Society of Artists Exhibition in 2014 Open Exhibitions :  Bath Society of Artists Exhibitions, Victoria Art Gallery, Bath  :  2009, 2010, 2011, 2012, 2013, 2014 Royal West of England Academy Autumn Exhibitions, Bristol :  2009, 2010, 2011
, 2013 Bath Prize Annual Art Exhibition :  2009, 2010, 2011, 2012 Bristol Art Prize Exhibition (replacing the Bath Prize), 2013 Royal Society of British Artists Open Exhibitions, Mall Gallery London :  2011, 2012 Royal Institute of Painters in Watercolours, Mall Gallery, London :  2011, 2012, 2014