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| DAVID
CARPANINI RWA |
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| Date
of Birth: 22 October, 1946 |
| Place:
Abergwynfi, South Wales |
| Profession:
Artist: Painter, Printmaker |
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on the image to view the larger version |
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| David
Carpanini was trained at Gloucestershire College of Art, the Royal College
of Art and the University of Reading. He held the post of Professor of Art
at the University of Wolverhampton from 1992 to 2000. He is currently President
of the Royal Society of Painter -Printmakers. In 1969 he won the British
Institution Awards Committee Annual Scholarship for engraving and has since
exhibited regularly at the Royal Academy. His drawings, paintings and etchings
are almost entirely devoted to the presentation of the industrial landscape
of South Wales. |
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| His
work has been selected for numerous group shows and he has also had several
one man exhibitions including the Welsh Arts council, Oriel Cardiff 1980,
Warwick Arts Festival 1986, Mostyn Gallery 1988, Rhondda Heritage Gallery
1989, and 1994, Walsall Museum and Art Gallery 1989 and St David's Hall
Cardiff, 1999. In 2000 David Carpanini was nominated as organizer, selector
and invited artist at the National Print Exhibition at the Mall Galleries
in London. Some of the prestigious collections which own his work are Glynn
Vivian Art Gallery, Swansea, Her Majesty The Queen, Windsor, Royal College
of Art, National Museum of Wales Cardiff, The Permanent Collection of the
Royal West of England Academy, The Welsh Mining Museum, The Ashmolean Museum
Oxford and The Fitzwilliam Museum, Cambridge |
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| Speaking
of his work in 'Arts Review' in June 1998, Carpanini acknowledges
the key influences on his work as: |
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| 'My
inspiration lies in the contemplation of the familiar. I believe that man
has a special bond with that part of the earth which nourishes his boyhood
and it is in the valleys and the former mining communities of South Wales,
scarred by industrialisation but home for a resolute people , that I have
found the trigger for my imagination. The stark landscape and the close
knit social infrastructure are a fundamental part of my own background and
I have attempted to use this natural drama of the location in order to explore
aspects of the human condition.' |
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| All
my paintings and prints are studio assemblages, unhurried distillations
of sketchbook observations and visual memories. I have always made extensive
use of small notebooks. These are working tools in which I make records
of both graphic and literary nature. These observations are not always put
to immediate use; indeed months, even years may elapse before a particular
theme is explored further. It is from this resevoir of material that my
pictures grow. The design and manner of any work arises as a natural process
of growth and evolution.' |
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