Northern Life
Some might say, , a statement Chris Cyprus finds difficult to concede with. Self taught, Chris started painting Landscapes close to his home in Mossley, Lancashire in 1998, inspired by the panoramic ruggedness of the Pennine hills. This was enough to keep him inspired for nearly a decade until regular visits to the South of France changed his outlook on life and painting. Introduced to Van Gogh's Harvest series painted in Arles, the colourful and surreal depictions of people going about their daily lives touched a nerve in Chris and inspired him to rethink what being an artist was all about. On his return, a visit to a local allotment sparked a connection between this and Van Gogh’s farm worker studies. Chris immediately rushed back to his studio where he began the first of over 200 paintings of allotments and the characters tending them. Working on his own allotment brought him even closer to the interesting subject matter. Chris had a realisation that the key to becoming happy with your work and being successful is to be true to yourself, and paint what inspires you at that moment. Following this rule, Chris finds inspiration no matter where he is. It can be a person in the local shop, a conversation in a bus shelter, watching the Brass Bands on Whit Friday, the optimism of clean washing hung out to dry, or a man wrestling with a wheelie bin. The beauty is always right there in front of us.‌.
Pennine Gallery & Studio Woodend Mill, Manchester Road, Mossley, OL5 9RR contact@chriscyprus.com to make an appointment
Allotments - an inspiring journey
In Spring, 2005, Chris was out walking with his camera, searching for inspiration after a cold, dark winter being cooped up in the studio. At that time he had a passion for old garages and garden sheds found at the back of terraced houses. There was something fascinating about them, the muted colours and flaky textures evoked memories of long hot summers. Whilst out walking in the low afternoon light of early springtime, Chris got a scent of wood smoke. This led him to an allotment where he found Melvin, who seemed to have the whole place to himself, working away on his plot in a world of his own, digging and raking the remnants of a long winter. Chris had recently been to visit the South of France, staying in the Town of Arles, where Van Gogh lived and painted many studies of the Harvest, fields and workers. This left a lasting impression on Chris and it was there he realised that being an artist was a life choice, and to be successful was to dedicate one's life to it. That day on the allotment all the elements came together to inspire a new body of work. Beautiful landscape, still life, buildings, figures, and crumbling sheds. Chris immediately rushed back to the studio, He was hooked.
In 2007, I was introduced to Bob Andrew, a life long allotment holder at a local allotment site. I sat for hours in his shed, chatting and listening to stories of old, and soon after I was on the waiting list for my own plot! It is great to see my 6 year old son Drew helping out and growing his own produce. The other obvious benefits of fresh air, regular exercise and a general feeling of well being are an added bonus. Having a place to escape to, a sanctuary to contemplate the balance of life and nature is good for the soul. You can't rush a good cabbage, or a good painting!
Feeding the Chooks Acrylic on canvas 2011, 36�x 48� Based on an allotment in Ribchester, Lancashire. After meeting a man who owned the entire allotment and had over 300 rare breed chickens. This originally featured the owner with the chickens in the foreground but was missing something. Chris used a photograph of his son Drew, 3, to complete the narrative for the painting.
Feeding Time Acrylic on Canvas, 2012, 20�x 20� Based on a farm in Uppermill, this was a moment when all the elements came together to create the perfect scene.
Men Working Oil on Canvas, 2014, 20”x 20” In 2013, Chris took the opportunity to visit Ashington, Newcastle, where the group of artists known as the Pitmen Painters were based. Chris was heavily influenced by the self taught painters, who were regarded as naïve artists. Their paintings depicted the working class life of a miner, and often included scenes of allotments and racing pigeons, also a huge influence on Chris's approach to his own work.
Pride & Joy Acrylic on Canvas, 2011, 48�x 36� This painting is one of many composite images taken from sketchbook ideas. Mostly from memories of people Chris meets on his travels to allotments throughout the North.
Perfect Harmony Oil on Canvas, 2015, 16�x 20� A retired couple find harmony working together on their allotment.
Whitby Chooks Oil on Canvas, 2015, 16�x 12� Chris wanted to feature Whitby abbey in one of his paintings, and to approach the subject from a different perspective than the popular view from the Town Centre.
Apples & Pear Oil on Canvas, 2013, 20�x 20� These found objects on an allotment make perfect subjects for still life painting, especially after the harvest season when things begin to decay.
Grove Gardens Acrylic on Canvas, 2012, 20�x 20�
As with many urban allotments, they are an oasis and a place of sanctuary hidden away amongst the hustle and bustle of modern life.
Factory Plots Oil on Canvas, 2015, 24�x 30� Based on the Biscuit factory in Ashton-under-Lyne. Chris thought it would make an interesting backdrop to an allotment scene, giving it a gritty urban feel.
Cotton Industry Oil on Canvas, 2015, 24�x 30� Overlooking Chadderton, Oldham with Manchester skyline in the distance. In reality the allotment is just wasteland.
Dannyboy Oil on Canvas, 2014, 24�x 30� The first of a small series inspired by the local Whit Friday traditions. Based on a composite of ideas & places bringing the narratives together.
The Line Up Oil on Canvas, 2015, 24”x 30” The King William Pub in Greenfield, Saddleworth. Featuring the famous Whit Friday Brass band Contest.
Meat Van Oil on Canvas, 2013, 20”x 20” Chris was visiting Beverly, East Yorkshire one Saturday morning at the weekly Market and was struck by the colours and geometry of this scene. In reality, there were two people who work the van, the Butcher and an assistant who takes the order then hands the goods to the customer. Chris later replaced the assistant for a customer.
From the ‘Best of British’ series.
One extra for Jack Acrylic on Canvas, 2013, 16”x 12” Based on Chris’ local butcher shop, Andy Taylor of Mossley on a busy Saturday morning rush for the Sausages!. This painting was made as part of a series ‘ based on traditional retailers that have dwindled on British high streets over the past few decades.
Fruit Seller Acrylic on Canvas, 2013, 20”x 24” From the collection. Chris visited Beverley, Yorkshire in 2013 and was inspired by the Town’s markets, and abundance of local produce on display. The sense of pride in the town reminded him of earlier trips to village markets in the South of France.
Market Place Oil on Canvas, 2015, 16�x 20� The fascination with this image lies in the timeline of the various examples of architecture, from a 17th century Church all the way up to the 21st Century, with Beetham Tower in the distance.
Tony Doyles ‘Meat Van’ Acrylic on Canvas, 2013, 18”x 14” Stockport Market. You can't miss this van on Market day, He shouts very loudly at passers by!
The Smoke House Oil on Canvas, 2013, 20�x 20�
series. Part of the Chris called into this establishment in need of change for the car park, leaving with a bag of free fish and some inspiration for his project. Chris returned in 2015 to repay the fishmonger with a signed print of the painting. Staithes, North Yorkshire.
A good days work Hand pressed, 4 stage reduction Linocut, 2013, 10”x 14” Inspired by the ‘
propaganda posters from the 2nd world war.
Bird Man Hand pressed Linocut 2013, 8�x 10� 10 impressions The laborious, traditional process of cutting and carving out sections of lino, then applying ink with a roller to be hand pressed with Japanese paper has always fascinated Chris. One slip and the print can be ruined!
Oysters & Beer Hand pressed, 4 stage reduction Linocut, 2014, 10�x 14� (16 impressions) I wanted to challenge myself to make an image of an iconic building in Manchester, one that I remember most about visiting as a young boy in the mid 70's. Some of the foreground figures are a portrayal of the patrons of the pub, bringing them back for one last party!
NORTHERN LIGHTS SERIES - Artist Statement
It all started back in 2006, the year after I moved into my first studio, swapping the spare bedroom chaos for a large space that seemed at the time quite overwhelming. I guess you could say that’s when I first became a professional artist. That winter I was really developing my own style and my awareness of the local surrounding landscape was heightened. I began making sketches from elevated windows on the fourth floor of the old cotton mill where I now took residency; which also happened to provide me with the same views I had from my childhood home and school, situated en route. Suddenly I was thrown into a nostalgic trip down memory lane; visions of journeys to and from school, playing out with friends until dusk. The mills of Mossley were still in full production, and i wondered if that was to be my life’s fate as I left the cosy world of high school education. As I rambled through not too distant memories, I saw dinner being prepared through dimly lit, steamed up kitchen windows. I noticed the back alleys of terraced houses glowing under orange light, illuminating wheelie bins, and bizarrely the ugly skip at the end of the drive had now been transformed into a beacon of beauty as it bathed in sodium glory. My fascination with the magic hour in winter, nestled between day and night, highlighted the chemistry between the natural and the man-made, drenched in artificial light. Chris is currently painting the Northern Lights series numbers 160+. A book celebrating the series, will coincide with the Governments proposed initiative by 2017 to replace all the UK’s sodium street lights with ‘White’ LED bulbs.
Northern Lights #147 Oil on Canvas, 2015, 24”x 30” The Cod and Lobster, Staithes.
Northern Lights #148 Oil on Canvas, 2015, 24�x 30� Visiting the Preview at the Staithes gallery of Leeds based artist Mark Sofilas in 2015. Chris had a joint exhibition with Mark in Beverly in 2013, and the two have remained good friends ever since, sharing similar views on art and painting.
A Cold walk home Acrylic on Canvas, 2010, 20”x 20”
Northern Lights #140 Oil on Canvas, 2014, 24�x 30� The iconic Stockport viaduct that has inspired and fascinated Chris from an early age.
Northern Lights #146 Oil on Canvas, 2015, 24�x 20� Visiting Staithes in May 2015, Chris rented a cottage for the weekend giving him the opportunity to view it in all its glory in the early evening.
The Boars Head Acrylic on Canvas, 2012, 24�x 20� Part of a series of paintings entitled , Chris lived in Stockport as a boy until 1978. He re-visited the Market place years later in the mid 90's when his band played the music venues there. Chris still visits the Town which in parts hasn't changed much since his childhood.
Short Cut Acrylic on Canvas, 2011, 20�x 20�
This painting was inspired by a local character who enjoyed a few scoops at the local pub, just two minutes from his house. It took him nearly an hour to get home!.
Farm buildings Oil on Canvas, 2015, 24”x 20” “
Oddbins Oil on Canvas, 2014, 20�x 20� An old cobbled path at the rear of steep terraced houses in Mossley, Lancashire. The path, once taken by Chris on his way to school, is near to his studio.
Over and Under Acrylic on Canvas, 2012, 20”x 20”
Based on the canal wharf at Wigan.
The Underpass Oil on Canvas, 2015, 12�x 16� A scene from an ordinary day in Lancashire. The yellow bus is the central focus of the painting.
Tootling along Oil on Canvas, 2015, 24�x 24� A Canal scene between Nelson and Burnley. Chris managed to capture the Narrowboat as it set off, with a backdrop that sets the scene perfectly.
Evening stroll Acrylic on Canvas, 2014, 16”x 12” An imaginary scene using Hayfield Church as inspiration.
Autumn Cruise Acrylic on Canvas, 2014, 16”x 12” Based on one of many walks and bike rides along the Rochdale canal near Todmorden.
Tunnel bridge Acrylic on Canvas, 2012, 24�x 30� A stylised depiction of a Northern Town, with long shadows from the low afternoon sun in Autumn, highlighting the geometry of the architecture displayed.