Sculpture, drawing, and a glass of wine
There are two underlying aspects to Glynn Griffiths’s work - the choice of materials, and an inferred contextual referencing. The materials appear willfully at odds with each other, positioned in an apparent philosophical clash between the Natural and the Man-made. Within this loose parameter he deals primarily with natural forces such as balance, tension, growth and gravity. Appearing complete in presentation, with closer consideration his work is veined with implication and more suited to the suggestion of questioning, than providing the satisfaction of reason.
Writer and critic Richard D North: ‘There is nothing elegiac or nostalgic or hectoring in Glynn Griffiths’s sculptures. They are not about green regret or fallen consumers. Rather, they are about the places where different sorts of making meet: the manufactured, the natural, the mechanical, the tactile, the primal and the sophisticated. They are enigmatic but not tricksy: they are liberating because they are about the marvels of creativity, and they leave the viewer free to fill in substantial blanks.’