Caroline Meynell


Latest work

	The road less travelled Oil and acrylic on canvas 76 x 60 cm 30 x 24"	Contact artist

	Opening Oil and acrylic on canvas 76 x 60 cm 30 x 24"	Contact artist

	Woven shadows Mixed media on canvas 40 x 30 cm 16 x 12"	Private collection

	Ridge below stone quarries II acrylic on canvas 76 x 50 cm 30 x 24"	Contact artist

	Light-filled trees I acrylic on canvas 60 x 50 cm 24 x 20”	Contact artist

	Old apple tree at Pigotts acrylic on canvas 40x40cm 16x16”	Contact artist

	Tree of Heaven at Pigotts acrylic on canvas 40x40cm 16x16”	Private collection

Tree series 2005 - current
In this series of paintings, trees become the essence of place. Their physical presence is conveyed by colour and texture, yet the trees become equivalents for inner thoughts and abstractions.
	Tree XV Blaenau Isaf series 2005 oil on canvas 25x25cm 10x10”	Contact artist

	Tree XVll Blaenau Isaf series 2005 oil on canvas 25x25cm 10x10”	Contact artist

	Trees ll Blaenau Isaf series 2005 oil on canvas 25x25cm 10x10”	Private collection

	Trees Vlll Blaenau Isaf series 2005 oil on canvas 25x25cm 10x10”	Private collection

	Trees Vll Blaenau Isaf series 2005 oil on canvas 25x25cm 10x10”	Private collection

	Tree X Blaenau Isaf series 2005 oil on canvas 25x25cm 10x10”	Private collection

	Treescape l, Whiteleaf series 2005 mixed median on canvas 40x40cm 16x16”	Contact artist

	Treescape Vlll, Whiteleaf series 2005 mixed median on canvas 40x40cm 16x16”	Contact artist

‘I love the Whiteleaf trees sequence. I walk there often and they are very evocative of the experience.’ RRG ‘I gave S his painting and his response was super. He was transfixed, and after that he said two things. First he said that although he saw three trees outlined in the painting, the whole painting is the trees. He also said that he felt the way you treat the trees in paint is exactly the way he treats them in poetry. He was really moved.’ Stuart W
Abstract lanscapes 2004
	Abstract landscape ll 2004 mixed media on board 22x22cm 8x8”	Contact artist

	Abstract landscape lV 2004 mixed media on board 22x22cm 8x8”	Contact artist

Desert series 2001 - 2003
Light is the pivot to this series of abstract ‘white’ paintings, inspired by a journey to the desert where everything is bleached to a thin transparency, nothing hidden. The work echoes this by building up transparent layers of white and subtle hues, making every nuance visible. Light is brought into play on the painted surface, opaque at one angle, translucent at another, with the paintings constantly changing in different light conditions. (It is worth mentioning that ‘white’ paintings are almost impossible to reproduce in photographs!)
	Untitled 2002 oil, pigment & beeswax on linen 40x40cm 16x16”	Private collection

	Crepuscular lll 2002 oil, pigment, charcoal & beeswax on canvas 91x91cm 36x36”	Private collection

	Intimations 2002 oil, pigment, charcoal & beeswax on canvas 91x91cm 36x36”	Private collection Singapore

	Untitled (desertscape) 2002 oil, pigments & beeswax on canvas 31x31cm 12x12”	Private collection Bahamas

	Flake white on titanium 2001 oil on calico 22x22cm 8x8”	Contact artist

	Titanium white on white 2001 oil & beeswax on board 31x31cm 12x12”	Private collection

‘The sense of silence and space in the paintings is managed brilliantly. The paintings have their own autonomous sense of self and place and space and they are real – working in their own terms. They are beautiful paintings.’ Sacha Craddock, art critic ‘Caroline Meynell’s abstract paintings are extremely simple and one needs to examine the surfaces of her works very closely as they rely not on pattern nor on colour, but on texture. These paintings are of squares or rectangles of white on white. This sounds dull but these pictures are not, as the careful layering of pigment creates depths and reliefs, as well as glowing and matt surface areas.’ Henley Standard

Installations 2004 & 2005
It makes the air remember 2004 A collaborative installation by myself and Liz Meier, commissioned for the ‘Scrap Metal’ music therapy project and ensuing concert at St Mary’s Aylesbury, funded by the regional Arts Council. The installation echoed the music therapy project by using recycled materials and involving community members. The concept for the design was to encompass both the visual and musical elements of the project. Acetate tubes provided the structure for a cascade of shapes, rhythms, points and counterpoints, each piece relative to the other, each unique. The whole was a transparency of layers that transformed the centre of the church and made ‘the air remember.’
	It makes the air remember 2004 Installation by Caroline Meynell & Liz Meier at St Marys Aylesbury Recycled materials: acetate, polythene, cellophane, candlewax, wire, thread Overall dimensions 13’ high x 22’ wide x 25’ long





Henley Festival 2005 For much of the year, the trees dominate the wide green expanse bordering the river Thames at Henley, as they stand like sentinels silhouetted against the sky. During the Festival they are overwhelmed by the ephemera of the occasion and become almost unnoticed. In an attempt to redress the balance, a group of five artists each adopted and dressed a tree for the occasion.
	Just hanging about 2005 Installation by Caroline Meynell Henley Festival Netting, vinyl, polythene, clothes pegs and clothes line 20’ maximum height

General reviews and comments Your work is so original and full of immeasurable depth. I am fascinated by how much your paintings remain in the mind and I find them creeping in when I am not even thinking about them. They stay and continue to work with the viewer long after the viewer has left the painting. Such generosity - I’m not sure that many artists give so much.’ Diana B ‘Paintings that receive what one may bring to them’ Bob D painter ‘Active stillness’ Belinda S textile artist

Copyright rests with the artist Website designed by Ian Martin Updated Dec07