katewynneeyton.art

I painted this image in a meditative way to recall happy times and places, to bring peace of mind into present reality and share that with others. The rainbow around the sun is something I saw on my travels in Tibet when I was young, although the landscape is a Welsh one, painted from sketches from earlier in the year, and from many overlapping memories of that much loved place. The photos are of my first encounter with Tibetan Buddhism, during an unexpected stay at a monastery in the late '90s. The title references the book of similar name by Richard Llewellyn. It is a way of saying that in the inner world, the grass can be always green.

I painted this image of St Dyfnog's Well as an act of prayer when my child was unwell. The lotus flower is a symbol of light and purity, which I added when he recovered, feeling thankful.

A created a pond in my garden because of the body of water that is a recurring theme in my art work, in particular relating to St Dyfnog's Well. My pond is a peaceful place to sit beside, great for wildlife, and a continuous source of inspiration. The fish were accidental, and must have arrived as eggs on some of the water plants.

My response to a music event at a Sussex coppice wood at the beginning of May, which marked the migratory return of the nightingale. The tall trees in the background are coppiced oak. They grew into that shape when competing with other trees, hornbeams, recently harvested and regenerating from their huge, intact root systems, leaving the slender oaks towering high above. Lying in the grass that starry night, I listened to the interwoven song of woman and nightingale and was transported somewhere transcendent. The flame-like woman is both real and of the present moment, and also a ghost from past times, brought to mind by story telling around the fire that evening.

This is a woodland in spring, in Wales where I grew up but no longer live. I painted it after a visit, based on sketches and memory and photographs. It also contains elements of a woodland in Sussex where I spent time that early summer, like the deer and the nightingale and the woodsman. I have tried to capture the sense of humming aliveness in the plants.

There is also a sense of yearning for a lost place and time, a bitter sweet nostalgia.

This painting represents a step on my path towards a deeper visual expression of the life force of trees and other plants.  I think of it as a plant portrait.  It tries to capture the very short moment in early spring when plants emerge from dormancy with exquisite delicacy and fragility.

I created Earth Mother from the waste earth dug up when laying a garden path; I noticed the pile of clods had female form and so for fun, started work to shape her. She symbolises the connection I feel with the earth, how enjoyable it is to mess about in the earth, and how good it feels to reconnect with the child within. Over time, she has gradually returned to the earth, helped also by my dog, who is a digger. Earth mother has inspired various other art works, some complete and some still in progress.

This painting remembers an idyllic stay in Wales, which I painted a year later, based on sketches, photographs, and memories tinged with nostalgia.  It tells the story of some events during that intervening year, as a way of processing those events and letting them go.

This image began as a celebration of the dogwood tree in my garden, a native species in many a hedgerow, with vibrant red bark and tender bright green leaves as they unfurl from bud.  It developed into something more about the negative spaces, and what lies beyond, in the cold spring light. The body of water has many meanings. It was inspired by a holy spring in Llanrhaeadr, St Dyfnog's Well, a mystical place that I am drawn to. The painting bears the scars of reworking as the image and its meaning revealed itself to me, as with much of my work. I don't hide this struggle, which is part of the process, a bit like kintsugi.

I visited St Dyfnog’s Well in the spring, after it had emerged as a recurring theme in two earlier works. Forest Bathing describes the sensation of being held within what feels like a natural bowl, encircled by the trees which grow up the steep sides of the ravine, with water flowing from the spring, and wood anemones and other forest plants carpeting the ground beneath. The image represents an acceptance that there can be no return to a place and time long passed, with the spring and running water signifying hope.

‍

This is my experience of an evening walk in the Chilterns.  As the sun dips, a hyper-reality emerges; the colours intensify, the shadows deepen, and the profusion of wild flowers and trees take on an added solidity or dimension, backlit, with the swallows zooming in and out.  And above, the clouds so heavy they too have a heightened solidity, as if they might fall down from the sky, like boulders. Based on a small painting of the same place from the summer before, the passage of time between the two paintings lent particular poignancy to this later work.

One of many sketches of myself and others

This view from my studio window captures a brief moment one cold February morning as the sun rose and turned the sky golden. I was transfixed by the light effects on the houses across the street, as the sun moved over the sky. I wanted to share a sense of deep calm and simple joy in the daybreak. The song of the same title played on repeat in my head while I painted this.

White Horse at Moel Findeg is the final painting in my Transcendence series.  It depicts one of the wild ponies at an inspirational community owned nature reserve in North Wales, where I ofen visit.  The geese are spiritual messengers, in the Celtic tradition.

‍

I painted this image of St Dyfnog's Well as an act of prayer when my child was unwell. The lotus flower is a symbol of light and purity, which I added when he recovered, feeling thankful.

A created a pond in my garden because of the body of water that is a recurring theme in my art work, in particular relating to St Dyfnog's Well. My pond is a peaceful place to sit beside, great for wildlife, and a continuous source of inspiration. The fish were accidental, and must have arrived as eggs on some of the water plants.

I created this mound in my front garden with waste material from the excavation of a pond. It is a nod to the ancient burial mounds in my local area and the landscape of my childhood and also a playful folly. It was the start of an ongoing process to explore our connection with the earth. It changes through the seasons, depending what is growing there. In spring and summer, it is high with wild flowers. It continues to delight and inspire me, as I experiment with growing and building.

This painting represents a step on my path towards a deeper visual expression of the life force of trees and other plants.  I think of it as a plant portrait.  It tries to capture the very short moment in early spring when plants emerge from dormancy with exquisite delicacy and fragility.

This painting is based on a December day in the Chiltern Hills, England. It looks for beauty in the midst of winter and re-imagines a cold water swim. The red towel makes a light hearted reference to the robes of a Buddhist monk, and the kitsch summer house suggests a Buddhist temple, as echoes of the past.

This painting remembers an idyllic stay in Wales, which I painted a year later, based on sketches, photographs, and memories tinged with nostalgia.  It tells the story of some events during that intervening year, as a way of processing those events and letting them go.

This image began as a celebration of the dogwood tree in my garden, a native species in many a hedgerow, with vibrant red bark and tender bright green leaves as they unfurl from bud.  It developed into something more about the negative spaces, and what lies beyond, in the cold spring light. The body of water has many meanings. It was inspired by a holy spring in Llanrhaeadr, St Dyfnog's Well, a mystical place that I am drawn to. The painting bears the scars of reworking as the image and its meaning revealed itself to me, as with much of my work. I don't hide this struggle, which is part of the process, a bit like kintsugi.

This original acrylic painting on paper, titled "Tree of Life and Death," explores the circle of life and our connection to all things. It is a deeply personal story of loss, healing, and rebirth, set in the forest forest where I find solace and restoration. The symbolism invites viewers to find their own meaning within the artwork, shaped by their individual experiences. The use of figurative, surrealist, and symbolic elements work together to create the visual narrative and evoke the beauty and mystery of the natural world. Consider placing this medium-sized painting in a space where you seek reflection and renewal, serving as a reminder of the cyclical nature of existence and the enduring power of healing.

I visited St Dyfnog’s Well in the spring, after it had emerged as a recurring theme in two earlier works. Forest Bathing describes the sensation of being held within what feels like a natural bowl, encircled by the trees which grow up the steep sides of the ravine, with water flowing from the spring, and wood anemones and other forest plants carpeting the ground beneath. The image represents an acceptance that there can be no return to a place and time long passed, with the spring and running water signifying hope.

‍

"Wilderness" is a figurative painting born from the inspiration of a music festival, a response to the sense of love, kindness and friendship experienced there. Rendered in acrylic on paper, this artwork captures a moment bathed in warm sunset hues.

The central figure, the woman in a yellow dress, seems to glow with an almost ethereal light. She embodies the sunset itself and evokes a goddess or angel, with clouds forming wings and her headdress suggesting a halo, and the other characters are in their own ways imbued with almost heroic or biblical qualities.

This original artwork, with its interwoven elements of portraiture and symbolism, would be a beautiful addition to any space. Its medium size makes it versatile, ideal for creating a focal point in a living room or bringing a warmth to a commercial or office space.

‍

I painted this view of my garden after planting more trees and wild flowers over the winter, and creating a mound as a nod to the ancient burial mounds which dot the English landscape where I now live, and the landscape of my childhood in North Wales.  The process of re-creating my garden inspired me to resume large scale studio painting after many years, and this was the first of these paintings. My garden is now a constant inspiration. The mound was still almost bare earth in places back then, and now, changing with the seasons, it buzzes with life.

‍

This is my experience of an evening walk in the Chilterns.  As the sun dips, a hyper-reality emerges; the colours intensify, the shadows deepen, and the profusion of wild flowers and trees take on an added solidity or dimension, backlit, with the swallows zooming in and out.  And above, the clouds so heavy they too have a heightened solidity, as if they might fall down from the sky, like boulders. Based on a small painting of the same place from the summer before, the passage of time between the two paintings lent particular poignancy to this later work.

One of many sketches of myself and others

White Horse at Moel Findeg is the final painting in my Transcendence series.  It depicts one of the wild ponies at an inspirational community owned nature reserve in North Wales, where I ofen visit.  The geese are spiritual messengers, in the Celtic tradition.

‍

I painted this image in a meditative way to recall happy times and places, to bring peace of mind into present reality and share that with others. The rainbow around the sun is something I saw on my travels in Tibet when I was young, although the landscape is a Welsh one, painted from sketches from earlier in the year, and from many overlapping memories of that much loved place. The photos are of my first encounter with Tibetan Buddhism, during an unexpected stay at a monastery in the late '90s. The title references the book of similar name by Richard Llewellyn. It is a way of saying that in the inner world, the grass can be always green.

I painted this image of St Dyfnog's Well as an act of prayer when my child was unwell. The lotus flower is a symbol of light and purity, which I added when he recovered, feeling thankful.

A created a pond in my garden because of the body of water that is a recurring theme in my art work, in particular relating to St Dyfnog's Well. My pond is a peaceful place to sit beside, great for wildlife, and a continuous source of inspiration. The fish were accidental, and must have arrived as eggs on some of the water plants.

My response to a music event at a Sussex coppice wood at the beginning of May, which marked the migratory return of the nightingale. The tall trees in the background are coppiced oak. They grew into that shape when competing with other trees, hornbeams, recently harvested and regenerating from their huge, intact root systems, leaving the slender oaks towering high above. Lying in the grass that starry night, I listened to the interwoven song of woman and nightingale and was transported somewhere transcendent. The flame-like woman is both real and of the present moment, and also a ghost from past times, brought to mind by story telling around the fire that evening.

I created this mound in my front garden with waste material from the excavation of a pond. It is a nod to the ancient burial mounds in my local area and the landscape of my childhood and also a playful folly. It was the start of an ongoing process to explore our connection with the earth. It changes through the seasons, depending what is growing there. In spring and summer, it is high with wild flowers. It continues to delight and inspire me, as I experiment with growing and building.

This is a woodland in spring, in Wales where I grew up but no longer live. I painted it after a visit, based on sketches and memory and photographs. It also contains elements of a woodland in Sussex where I spent time that early summer, like the deer and the nightingale and the woodsman. I have tried to capture the sense of humming aliveness in the plants.

There is also a sense of yearning for a lost place and time, a bitter sweet nostalgia.

I created Earth Mother from the waste earth dug up when laying a garden path; I noticed the pile of clods had female form and so for fun, started work to shape her. She symbolises the connection I feel with the earth, how enjoyable it is to mess about in the earth, and how good it feels to reconnect with the child within. Over time, she has gradually returned to the earth, helped also by my dog, who is a digger. Earth mother has inspired various other art works, some complete and some still in progress.

This painting is based on a December day in the Chiltern Hills, England. It looks for beauty in the midst of winter and re-imagines a cold water swim. The red towel makes a light hearted reference to the robes of a Buddhist monk, and the kitsch summer house suggests a Buddhist temple, as echoes of the past.

This image began as a celebration of the dogwood tree in my garden, a native species in many a hedgerow, with vibrant red bark and tender bright green leaves as they unfurl from bud.  It developed into something more about the negative spaces, and what lies beyond, in the cold spring light. The body of water has many meanings. It was inspired by a holy spring in Llanrhaeadr, St Dyfnog's Well, a mystical place that I am drawn to. The painting bears the scars of reworking as the image and its meaning revealed itself to me, as with much of my work. I don't hide this struggle, which is part of the process, a bit like kintsugi.

This original acrylic painting on paper, titled "Tree of Life and Death," explores the circle of life and our connection to all things. It is a deeply personal story of loss, healing, and rebirth, set in the forest forest where I find solace and restoration. The symbolism invites viewers to find their own meaning within the artwork, shaped by their individual experiences. The use of figurative, surrealist, and symbolic elements work together to create the visual narrative and evoke the beauty and mystery of the natural world. Consider placing this medium-sized painting in a space where you seek reflection and renewal, serving as a reminder of the cyclical nature of existence and the enduring power of healing.

I visited St Dyfnog’s Well in the spring, after it had emerged as a recurring theme in two earlier works. Forest Bathing describes the sensation of being held within what feels like a natural bowl, encircled by the trees which grow up the steep sides of the ravine, with water flowing from the spring, and wood anemones and other forest plants carpeting the ground beneath. The image represents an acceptance that there can be no return to a place and time long passed, with the spring and running water signifying hope.

‍

"Wilderness" is a figurative painting born from the inspiration of a music festival, a response to the sense of love, kindness and friendship experienced there. Rendered in acrylic on paper, this artwork captures a moment bathed in warm sunset hues.

The central figure, the woman in a yellow dress, seems to glow with an almost ethereal light. She embodies the sunset itself and evokes a goddess or angel, with clouds forming wings and her headdress suggesting a halo, and the other characters are in their own ways imbued with almost heroic or biblical qualities.

This original artwork, with its interwoven elements of portraiture and symbolism, would be a beautiful addition to any space. Its medium size makes it versatile, ideal for creating a focal point in a living room or bringing a warmth to a commercial or office space.

‍

I painted this view of my garden after planting more trees and wild flowers over the winter, and creating a mound as a nod to the ancient burial mounds which dot the English landscape where I now live, and the landscape of my childhood in North Wales.  The process of re-creating my garden inspired me to resume large scale studio painting after many years, and this was the first of these paintings. My garden is now a constant inspiration. The mound was still almost bare earth in places back then, and now, changing with the seasons, it buzzes with life.

‍

This view from my studio window captures a brief moment one cold February morning as the sun rose and turned the sky golden. I was transfixed by the light effects on the houses across the street, as the sun moved over the sky. I wanted to share a sense of deep calm and simple joy in the daybreak. The song of the same title played on repeat in my head while I painted this.

I painted this image in a meditative way to recall happy times and places, to bring peace of mind into present reality and share that with others. The rainbow around the sun is something I saw on my travels in Tibet when I was young, although the landscape is a Welsh one, painted from sketches from earlier in the year, and from many overlapping memories of that much loved place. The photos are of my first encounter with Tibetan Buddhism, during an unexpected stay at a monastery in the late '90s. The title references the book of similar name by Richard Llewellyn. It is a way of saying that in the inner world, the grass can be always green.

My response to a music event at a Sussex coppice wood at the beginning of May, which marked the migratory return of the nightingale. The tall trees in the background are coppiced oak. They grew into that shape when competing with other trees, hornbeams, recently harvested and regenerating from their huge, intact root systems, leaving the slender oaks towering high above. Lying in the grass that starry night, I listened to the interwoven song of woman and nightingale and was transported somewhere transcendent. The flame-like woman is both real and of the present moment, and also a ghost from past times, brought to mind by story telling around the fire that evening.

I created this mound in my front garden with waste material from the excavation of a pond. It is a nod to the ancient burial mounds in my local area and the landscape of my childhood and also a playful folly. It was the start of an ongoing process to explore our connection with the earth. It changes through the seasons, depending what is growing there. In spring and summer, it is high with wild flowers. It continues to delight and inspire me, as I experiment with growing and building.

This is a woodland in spring, in Wales where I grew up but no longer live. I painted it after a visit, based on sketches and memory and photographs. It also contains elements of a woodland in Sussex where I spent time that early summer, like the deer and the nightingale and the woodsman. I have tried to capture the sense of humming aliveness in the plants.

There is also a sense of yearning for a lost place and time, a bitter sweet nostalgia.

This painting represents a step on my path towards a deeper visual expression of the life force of trees and other plants.  I think of it as a plant portrait.  It tries to capture the very short moment in early spring when plants emerge from dormancy with exquisite delicacy and fragility.

I created Earth Mother from the waste earth dug up when laying a garden path; I noticed the pile of clods had female form and so for fun, started work to shape her. She symbolises the connection I feel with the earth, how enjoyable it is to mess about in the earth, and how good it feels to reconnect with the child within. Over time, she has gradually returned to the earth, helped also by my dog, who is a digger. Earth mother has inspired various other art works, some complete and some still in progress.

This painting is based on a December day in the Chiltern Hills, England. It looks for beauty in the midst of winter and re-imagines a cold water swim. The red towel makes a light hearted reference to the robes of a Buddhist monk, and the kitsch summer house suggests a Buddhist temple, as echoes of the past.

This painting remembers an idyllic stay in Wales, which I painted a year later, based on sketches, photographs, and memories tinged with nostalgia.  It tells the story of some events during that intervening year, as a way of processing those events and letting them go.

This original acrylic painting on paper, titled "Tree of Life and Death," explores the circle of life and our connection to all things. It is a deeply personal story of loss, healing, and rebirth, set in the forest forest where I find solace and restoration. The symbolism invites viewers to find their own meaning within the artwork, shaped by their individual experiences. The use of figurative, surrealist, and symbolic elements work together to create the visual narrative and evoke the beauty and mystery of the natural world. Consider placing this medium-sized painting in a space where you seek reflection and renewal, serving as a reminder of the cyclical nature of existence and the enduring power of healing.

"Wilderness" is a figurative painting born from the inspiration of a music festival, a response to the sense of love, kindness and friendship experienced there. Rendered in acrylic on paper, this artwork captures a moment bathed in warm sunset hues.

The central figure, the woman in a yellow dress, seems to glow with an almost ethereal light. She embodies the sunset itself and evokes a goddess or angel, with clouds forming wings and her headdress suggesting a halo, and the other characters are in their own ways imbued with almost heroic or biblical qualities.

This original artwork, with its interwoven elements of portraiture and symbolism, would be a beautiful addition to any space. Its medium size makes it versatile, ideal for creating a focal point in a living room or bringing a warmth to a commercial or office space.

‍

I painted this view of my garden after planting more trees and wild flowers over the winter, and creating a mound as a nod to the ancient burial mounds which dot the English landscape where I now live, and the landscape of my childhood in North Wales.  The process of re-creating my garden inspired me to resume large scale studio painting after many years, and this was the first of these paintings. My garden is now a constant inspiration. The mound was still almost bare earth in places back then, and now, changing with the seasons, it buzzes with life.

‍

This is my experience of an evening walk in the Chilterns.  As the sun dips, a hyper-reality emerges; the colours intensify, the shadows deepen, and the profusion of wild flowers and trees take on an added solidity or dimension, backlit, with the swallows zooming in and out.  And above, the clouds so heavy they too have a heightened solidity, as if they might fall down from the sky, like boulders. Based on a small painting of the same place from the summer before, the passage of time between the two paintings lent particular poignancy to this later work.

One of many sketches of myself and others

This view from my studio window captures a brief moment one cold February morning as the sun rose and turned the sky golden. I was transfixed by the light effects on the houses across the street, as the sun moved over the sky. I wanted to share a sense of deep calm and simple joy in the daybreak. The song of the same title played on repeat in my head while I painted this.

White Horse at Moel Findeg is the final painting in my Transcendence series.  It depicts one of the wild ponies at an inspirational community owned nature reserve in North Wales, where I ofen visit.  The geese are spiritual messengers, in the Celtic tradition.

‍