Portuguese Gardens

The surroundings gardens of a hotel provided the inspiration for a playful series of images using the seemingly random layout of trees and shrubs. The lack of formality lead to some unusual juxtapositions of shape and colour. Initially a series of collages, I really enjoyed introducing a looser style when applying the paint for the foliage and flowers which is contrasted with the almost flat background.

All original pieces from this series, using acrylic on board, are available to buy from this website through this link here. 

If you would prefer to see the originals, please contact me at to arrange a viewing.

"Lifetide Series" - Exhibition Notes

Ideas are there for us to discover, if we can see them, if we know where to look. 

1.  Brick dust over everything. Building work at home 2010. Random marks on surface of kitchen appliances reminiscent of organic shapes, animals, birds.

There is one common flow, one common breathing. All things are in sympathy
— Hippocrates, 5th century B.C.

2.  Lunchtime doodle in a notebook, scribbling for the sake of it. The shapes are organic and grow on the page. Currently reading "Lifetide" by Lyall Watson. There is a quote on the beginning pages: 

Sometimes ideas connect, breed and grow, transforming into something new.

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3. & 4.  I decided to use the unusual shapes in the dust as a starting point for a new series of‚ abstract‚ work and, wanting the shapes to be more sophisticated than my doodle, begin to sketch out lifeform shapes.

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5:  Collage is the next step to further realise colours and the composition of larger pieces - I have enough shapes for 12.  I want rhythm and a connection between the shapes - "the one common flow".

6:  In the final paintings (four so far) I reinterpret the colours of the collages.

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The new finished "LIfetide" Series are available here and all of the pieces are available as limited edition giclée prints.

© David Lyon

10 highlights for 2014 for David Lyon Art

1. Realising that commitment and dedication to my craft brings positive results;

2. Finding out that taking the easy route isn't always the best;

3. Finding that having a professional approach to how I work engenders creative self-respect and the respect of my peers;

4. Realising that it's essential to use your own ideas;

5. Being comfortable with calling myself 'An Artist';

6. Realising that not everybody who makes 'Art' is 'An Artist';

7. The feedback I received from people who chanced upon the 'Wildflowers' series exhibited at St. James's University Hospital was positive and life affirming, meaning I'd reached people and communicated  - which is what I set out to do;

8. Having positive support and interest from galleries who chose to display and sell my work;

9. Making things - paintings, prints, cards, calendars - that people want to buy;

10. And last, but far from least, having the love, support and help of family and friends (you know who you are). Thank you.

Are Art Fairs good for galleries or killing them?

"The art world can't live with art fairs. The art world can't live without art fairs" 

My Review: Whilst this article relates more to galleries attending art fairs rather than lowly artists representing themselves it raises the topic of the sudden rise in number of art fairs now operating globally. I have received invites from fairs as far flung as Spain and L.A. indicating that they have seen my work via my presence online and how they would love to offer me a space (at cost) to exhibit. Artists hungry for exposure pay hard earned cash to exhibit but whether sales for the artist follow at the fair is almost irrelevant as the fair organisers have already made their money. Artists need to be aware and beware the well worded e-mail. Is the art fair the best way to gain exposure, and consequently the sales, that the artist needs to survive? Not every art fair is right for every artist.

Source via Twitter: ArtnetNews