Saturday evening and, as one of the selected exhibiting artists, the opportunity to attend the Private View and opening of the North Wales Open 2017 at Theatr Clwyd in Mold, our regular cinema-going and theatrical venue, augmented by a programme of visual art and design displays, where many a fine and entertaining evening has been spent.
Despite having made a point of seeing the NWO or its predecessor prior to local government reorganisation the Clwyd Open many years over the last 30+ and previously exhibiting at Theatr Clwyd as an invitee of the ‘Group 75’ show in 2001, this was actually the first time I’d entered work (up to two pieces per individual) for consideration for selection, and was gratified not to hear news that I’d not got both in, as per the judging process (!), building up some momentum after the Wrexham Open success of April. Rather than rest on the old laurels and rely on those tried-and-tested, I decided to submit another of the ‘woodscapes’ (#5) and, for variety but possibly taking a risk in presenting two distinct aspects of painterly activity, one of the recent larger-scale ‘White Pears’ compositions (#29).
Anyway, suitably uninformed, Anna and I made our way to the venue where it was pleasing to see and be part of a well-attended event, lots of milling, viewing and relaxed chat in evidence and a wide variety of art, traditional and modern as they say, the work of professional and amateur practitioners alike, some familiar names, on show.
Anna studying the selection...
With the focus towards the personal, here follows a small group of spectators before ‘Woodscape #5’, the painting in its immediate context and in isolation and then ‘White Pears #29’ in the company of other still life compositions (paintings and a collagraph) and on its own – both paintings were favourably hung, in nice central, well-lit locations in the main and Community galleries, it must be said, so we’ve done very well out of the experience.
