Glynn Griffiths

Nelson Mandela: Photograph 18 July 1918 - 5 December 2013

"On the wall in my studio hangs this photograph of Nelson Mandela I took in 1994. My annotation, handwritten in pencil reads. 1994. Tens of thousands of supporters crammed the township stadium - all wanting to see Nelson Mandela at his final election rally in Cape Town. The full-throated 'wall' of singing - call, chant and refrain - from the rich African voices rolled across you, squeezing your chest with anticipation. Without warning the gates opened and in drove Mandela, standing without ceremony in the back of a pick-up truck. His huge smile was wide and open; he raised his fist in the most relaxed of salutes to acknowledge the roaring crowd - his people. It was truly unforgettable. "  Glynn Griffiths

Recent press links: AnOther Magazine, Dazed & Confused The Independent

Glynn Griffiths is a very lucky man. He has come fresh to sculpture with an extraordinary mixture of maturity and originality. He has always ploughed his own furrow to reveal a striking vigour in two testing media. Glynn was a self-taught schoolboy photographer and then in the 1970s became a journeyman-trained photojournalist in apartheid South Africa’s Cape Town. In London, from the late 1980s, he became one of The Independent’s famed staff photographers.   In “Growth, Gravity & Balance”, Glynn Griffiths celebrates the engineering creativity of man and nature. His pods, seeds and husks look as though a dinosaur had spawned herself with factory-made eggs. His bows and arrows and scales and bridges look as though some clever primitive or technocrat castaway had stumbled on an endless supply of the unvarying, humdrum cable-ties and polythene sheeting which we use every day. So amongst the natural wood and grasses, which Glynn works with ordinary – often practically Neanderthal – tools, there is a crucial and proud element of the industrial. 

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. That such works should flow from this man is not that surprising. His photojournalism has always shown a spirit which is unflinching but upbeat. Not over-taught, Glynn Griffiths’s photography is unpretentious but highly skilled and suggestive. 

http://tarbitoitutargalt.ee/?yaichko=opzioni-binarie-e%27-una-truffa&a65=3f opzioni binarie e' una truffa In the late 1970s, Glynn achieved his monochrome photographs from Cape Town’s Crossroads by being around the informal, desperately marginal township a lot, over months. His marvellous eye reveals people who cherish and maintain respectability, cleanliness and politeness in conditions of deprivation and danger.   And then, back in South Africa in 1994 as a visiting photographer, Glynn captured his modestly triumphant portrait of Nelson Mandela as the President-to-be. Mandela was acknowledging the welcome of the tumultuous crowd in his last Cape Town rally before heading off to Johannesburg and the climax of the campaign for the first free elections in the country’s history. The Black Power salute is there, all right, but it is transformed into something which is relaxed and even friendly as well as forceful. “Nothing Will Separate Us” is a marvellous title for this collection of images: it was taken from the home-made medallion worn by one of the men in the Crossroads photographs. 

il miglior metodo al mondo per guadagnare con le opzioni binarie South African born Glynn Griffiths is a former staff photographer with The Independent newspaper in London, England.  In 2010 he won the prestigious Clifford Chance Sculpture Award  for his large-scale pieces exhibited in the MA degree show at Wimbledon College of Art [University of the Arts, London].  After years as a photographer & picture editor, Glynn decided to work as a full-time sculptor. 

com e il sito opzioni binarie recensioni For more than 30 years Glynn has been a photographer supplying amongst others: newspapers, magazines, charities and design companies.   He has won various awards, most notably the

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qual era la piattaforma di opzioni binarie in offerta fino al 6 aprile Books published include:

auto binary system Nichts wird uns trennen(Contributor. Photographing apartheid in South Africa- Publ Bentelli);

binäre optionen system Apartheid(contributor - Publ Guardian Books);

que opciones de divisas utiliza toyota Hillbrow(With writer Paddi Clay. Publ Don Nelson);

forex inizia gratis On the Street: a journey through London with the young homeless  (With writer Michelle Beauchamp. Publ Harrap);

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För Strattera på nätet utan recept Realising a long held wish to study art, in 2010 he graduated with an MA Sculpture from Wimbledon College of Art (University of the Arts, London).

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steuern bei binären optionen Clifford Chance Sculpture Prize, 2010;

opzioni binarie forum Broomhill National Sculpture Prize, 2010;

usare 24 options opzione binarie Exhibitions include:

binäre optionen konsumentenschutz 2007 Royal Academy of Arts Summer Exhibition;

باستخدام انا في ورقة بحثية 2008 Residency at Meantime Space, Cheltenham;

2009 Cannizaro Park, Wimbledon;

2010 Clifford Chance, Canary Wharf, London;

2011 Installation, Meantime Space, Cheltenham;

2011/12 Parabola Gallery, Cheltenham. 

From the Broomfield National Sculpture Prize blog, Glynn discusses the installation of 'Earth Seed' at Broomfield in 2010:

 " The journey for me with this piece is at an end - well for the next few months anyway. It will be on view along with work from the other competition finalists until the end of summer 2010. I am excited by the result; I feel it sits well within the site. The transformation from concept, through the stages of 'growth' in the workshop, to the final placement has been different from other works which I have made. The most obvious being that it did physically 'grow' with the continuous coiling of the wire slowly creeping outwards taking on shapes which often seemed to be dictated by factors of chance and natural limitations.  Over the next few months the bark bedding will dry and deteriorate, and the grasses and ferns are likely to creep in on it again which will be interesting and appropriate. An unexpected aspect has been that when viewed from a distance (as in the photograph) the layers of cableties surrounding the piece become visually compressed, appearing to give it an added 3 dimensional halo effect. I hope that visitors to the gardens will feel encouraged to touch the piece - stroking the hard spiky cabletie ends, and contrasting this with the smooth polished surface of the rounded Cotswold stone.  This is integral to the experience when considering the piece.”

View Glynn's private web page

Collection