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Biography of John Carwithen



I have painted since 8 years old as far as I remember, but memory of my childhood is poor for some reason, so probably before that. I remember things stepping up a gear aged 11, when I discovered the joy of oil paint in the form 'painting by numbers' if that rings any bells with you.

I did a couple of these pictures, which were characterized by small areas of flat colour, that sort of looked like a picturesque scene if you squinted hard enough, and then decided, enough was enough, and the way of the Old Masters was the way to go. I always was a bit ambitious when it came to art, born with the attitude that if someone else can do it, so can I, whether art or anything else. Well that is true to an extent, but sometimes the success of such a target is just too much like hard work and nearly kills me - I am for example vertically challenged and basketball ball would be a ridiculous ambition. The trick is to only go for things you have a hunch you may have an aptitude for in the first place! We all have to play confidence building games.

Well this hunch paid off, because I took to oil paint very quickly and it's charisma didn't intimidate me. They are few options with oil if you want to be reserved and not commit too much too soon. It is an immediate medium, with a solidity and form that lifts above the surface you paint it onto. It's not for wimps.

It does however have the ability to be used very carefully for delicate effects once you get a feel for it. It has a tremendous range of expression, so could depict a fragile membrane to a lump of lead!
John Carwithen artist photo

Serioua business this art,
not something to laugh about
Oil paint's unique factor, except for some kinds of egg tempera painting, is to be able to be build up in translucent layers through glazing. With a glaze, the body of the paint is largely just oil, which doesn't collapse like it's acrylic equivalent; acrylic is water-based and so all the water evaporates. Imagine painting with thin layers of coloured glass and you can then visualize the effect if you have never seen such oil paintings in reality. This effect cannot be printed or shown on a computer monitor and has to be seen in an oil painting painting using glazes.

Painting with glazes takes a lot of time however, so I can rarely do it to the degree I would like, unless a client is willing to pay for those extra hours. I do paint quite thinnley though, which speeds up a painting as much less time is needed between coats to allow drying, which is needed for certain stages of a picture.
After school I went to Cardiff art college, which was Howard Gardens Institute of Art & Design in the early 80's -some other name now probably.

I studied Graphic Design for 3 years after a Foundation course, worked on and off in design for about 5 years and then bailed out under the pressure of 'artist need', which is something I have a love-hate relationship with. Can't live with her, can't live without her!

The road is a bit erratic after that, as I am the typical grumpy frustrated, 'why can't I paint what I want?' artist, at constant odds with the world about me.

Part of the problem was finding this something totally true to me, which after several years took the form of my abstract art, which can be seen at
http://www.john-carwithen.com/abstracts.html

So where do dogs fit in? Well after a while of deserting this particular duty in search of my own self-expression, and then finding satisfaction with the abstract paintings, I then felt more able to give to others and paint people's dogs - plus cats, horses etc that can be seen on my other site
http://www.john-carwithen.com

So now I am content to paint people's dogs and never get bored of their pleased reactions when they see their beloved pet or working dog preserved in oil on canvas. Besides, I see oil paint as a 'doggy medium' which has a down-to-earth element to it, well suited to natural forms.

I have been picked up, kissed, hugged, tipped and witnessed tears of happiness. Then it all seems worthwhile and this buzz of seeing someone's face, when I hand over the picture, never goes away.
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