Arts Council Collection

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Mosley, Ryan

James

Ryan Mosley’s paintings are often populated by carnivalesque characters, including bearded figures in top hats, acrobats and dancers, and feature harlequin prints, rampant foliage and unruly limbs. The artist describes his approach as ‘instinctive’. Rather than making studies for his paintings, he works directly onto the canvas, and incorporates any ‘mistakes’ into the finished piece. The portrait James (2016) – which features a young man in profile – is unusual for Mosley in that it was made using preparatory sketches and drawings.

Bones of Time

Ryan Mosley’s paintings are often populated by carnivalesque characters, including bearded figures in top hats, acrobats and dancers, and feature harlequin prints, rampant foliage and unruly limbs. The artist describes his approach as ‘instinctive’. Rather than making studies for his paintings, he works directly onto the canvas, and incorporates any ‘mistakes’ into the finished piece. The portrait James (2016) – which features a young man in profile – is unusual for Mosley in that it was made using preparatory sketches and drawings.

Northern Ritual

Ryan Mosley uses traditional methods of colour production – grinding pigments and mixing them in binder – allowing for the vast and varied palettes seen in his work, which is embedded with references to paintings and styles of the past, along with an internal lexicon of images and symbols. Northern Ritual depicts the idea, in the artist’s words, of ‘a group of women, possibly mothers, bonded through the trials of living and raising others, arriving at a venue, discussing others, but themselves practising some form of ritual. Not dancing per se, but being part of some form of dance.

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