James Naughton is one of the UK's leading contemporary landscape painters and has exhibited extensively in London and across the country.
James' latest exhibition, Copper, Slate and Stone (opens 7th October 2018 and runs up to Christmas) has been specially commissioned by Plas Glyn-y-Weddw and is inspired by the industrial remnants to be found in northwest Wales. James says....
"In working on this special project for Plas Glyn-y-Weddw my focus has been primarily on Parys Mountain Copper Mine, Dinorwig Slate Mine and the Granite Quarries near Trefor and Nefyn on the northern coast of the Llŷnpeninsula. These sites offer a chance to see a truly unique beauty and multifaceted experience of the Earth, the passage of time and remarkable human endeavour. In being surrounded by an ancient landscape and the mines and quarries' appearance one can easily bring to mind the myths and adventure associated to the sites. There will no doubt have been a time when these places will have looked very distinct in contrast to their natural settings but we can also view the structure and imitation of nature in the strata needed to retrieve these materials. Even the apparent random casting of spoil has an inherent order that feels as though it's slowly shifting like the sea. It is these reflections and thoughts which I hope will find a way into the paintings, an attempt to record the whole experience. I would like to thank all the gallery staff for their encouragement help and support in making this exhibition possible as well as the Parys Mountain underground group for the wealth of knowledge and enthusiasm for their heritage.
James Naughton pursued his childhood love of art to achieve a first class honours degree from the Metropolitan University of Leeds in 1994, and since then has enjoyed an extraordinary career and has become one of Britain's most accomplished and sought after landscape painters. It is often said that a James Naughton painting evokes an emotional experience, sometimes even a spiritual one, but he prefers not to attach definitive meanings to his work, preferring his painting to speak for itself and allowing the individual viewer his or her own personal dialogue with the image.
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