20/50 Vision: Tomorrow’s Habitat

Bristol painter Andrew Burns Colwill presents a series of paintings and small sculptures that examine the paths we have chosen to take and raise this question: what are the consequences of these choices on our planet, ourselves and our children?

“The show title 20/50 Vision is a play on the term ’20/20′ vision and how my life experience has given me a slightly warped perspective of the world,” Andrew explains.

“20/50 vision for me has 2 aspects; firstly a point of view that sometimes makes people a little uncomfortable but offers a wider and alternative perspective to the norm, and secondly my interpretation of how we as a species may be faring socially and economically by the year 2050.”

Read our interview here.

All works are produced with acrylics, brushes, rollers, rags, fingers etc onto canvas and board with not a spray can in sight.

Several of the originals will also be available as high-quality giclee prints.

Pictured: Polar Bear (detail).

Gallery open Thur & Fri 12-6pm/Sat 1-7pm. For more info, visit www.itsall2much.com/exhibitions/2050-vision-tomorrows-habitat

Biography
“Andrew Burns Colwill was born in Clifton and has led a colourful life which he has successfully portrayed on canvas.

“His painting techniques developed out of utilising affordable materials and so untreated canvases, curtain linings stretched over wooden frames and household paint were the order of the day and have remained his preferred tools to this day. Unbeknownst to Andrew at the time, his ‘soak stain’ technique had its origins in abstract paintings as showcased by artists such as Jackson Pollock, Helen Frankenthaler and Morris Louis, but Andrew turned this generally imprecise technique into quite the reverse, creating contrast layers of subtle composition with skilfully detailed work.

“Following an unruly childhood spent at the back of the classroom drawing and painting to keep him out of trouble, Andrew was able to put his artistic talents to use painting scenic artwork for the BBC, backdrops for theatre companies and murals around Bristol. By 1988, his growing self-confidence and reputation (together with money from commissions, friends and financial institutions) led him to hire Ashton Court Mansion for a spectacular exhibition of some of his largest works at that time. With over 1,000 visitors, all augured well for the future.

“However, his increasing immersion in his work became fuelled by alcohol and drugs in a downward spiral of addiction. In an effort to break free, Andrew moved to Greece where he fought his demons and lived by selling art to tourists and locals from his makeshift gallery on a seafront.

“Family ties eventually caused Andrew’s return to his beloved Bristol where he now continues to build a loyal following of collectors of his stunning work.”