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Jamie Dean Avis

  • Contemporary Art
  • MA
  • "I Cairn"
  • Tutor: John Grzinich
  • Painting and video series.
  • Eight paintings, 100 x 100 cm each. "Moors Missed" video work (35m 5s). Hand-bound 120-page artist's book.
“The Boney King of Nowhere”, 100 x 100 cm, acrylic on stretched canvas, 2021.
“I’m Fine, Honestly”, 100 x 100 cm, acrylic on stretched canvas, 2021.

My mum has been off work for ages. She has pain in her back extending down one leg to her foot. Sometimes when you ask to help she insists that she is fine. Once on a Sunday morning the paramedics came. They asked her how she was. She said “I’m fine”. She’s been fine ever since.

“Songs of Slow Focus”, 100 x 100 cm, acrylic on stretched canvas, 2022.
“No Hands!”, 100 x 100 cm, acrylic on stretched canvas, 2022.

It is a surrogate for the motherly hold, either as a cradle for the foetal, a cover for protection, or a trace of my mother's body. The series began from an additional point - treating the bed as a representational surface as if the Yorkshire Dales from up above. Its terrain a bed of geography to be mapped upon across folds, to be traversed with her image.

“Bad Crescendo”, 100 x 100 cm, acrylic on stretched canvas, 2022.
“Double-Back”, 100 x 100 cm, acrylic on stretched canvas, 2021.
“Big Exit”, 100 x 100 cm, acrylic on stretched canvas, 2022.
“Arch’ (Skip Another Generation)”, 100 x 100 cm, acrylic on stretched canvas, 2021.
“Like Treasure”, 100 x 100 cm, acrylic on stretched canvas, 2022.

Abound the moors is a ‘rionnach maoim’ formation of dancing light, piercing clouds and illuminating the upper edge of the canvas as it hobbles metre by metre, its full width equivalent to a long stride.

A walk across the Yorkshire Dales in Northern England originates the painting series and concludes it, following routes marked with chalk in the paintings and therefore concluding the image as a divining rod.

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