Glasgow Docks I
Price £1200.00 / $1527.09
Size 140 x 108 cm
Glasgow Docks II
Price £1600.00 / $2036.12
Size 140 x 108 cm
M8 Junction 15 (dyptch)
Media graphite and wash
Price £244.00 / $310.51
Size 81 x 58 cm
John Meuli was born in 1958 in Poole, Dorset. He trained at the Ruskin School of Drawing, and started painting full time in Cornwall in 1982. After six years in Cornwall, he lived and worked in Norfolk, Italy, Canada, the USA and London, before coming to Glasgow in 1996.
As well as painting, he has studied, written and taught about art, and has published a book of interpretations of Northwest Coast Native American art (Shadow House, Routledge / Harwood Academic Publishers, 2000)
He is married to Liffy Grant, a freelance editor. They have a daughter.
Newlyn Art Gallery (1986 - supported by Southwest Arts)
Roger Billcliffe Gallery, Glasgow (2001)
Kinsteary House, Nairn (2001)
Mixed exhibitions in Cornwall, Somerset, London, Edinburgh, Dundee, Crieff, Perth.
Collaborative installation / event works with three other artists (Working Party: 1985/6 at Newlyn Art Gallery and at Geevor Mine, Pendeen)
John has taught for Exeter University extra-mural department; Penzance Art School (adult education); University of East Anglia; School of the Museum of Fine Arts; Boston.
A note on landscape
When I was a child, I remember sitting in a field overlooking St. Just in Penwith in Cornwall, painting the town, and I remember crows, or rooks, or jackdaws flying over the town, their black shadows moving swiftly over the slate roofs, which were bright in the sun, so that you couldn’t tell which black shapes were birds, and which were shadows. It seemed I painted the whole day, and it was one of the happiest of my life.
When I was older the pleasure of landscape began to wither, when I grew to know more. You have to paint what you know, and painting the death of the countryside the pollution, the pesticides, the bypasses, the traffic was too drear.
In the last four or five years I have found a way back which enables me to paint what I know; the roads and car-parks as well as the mountains. Working on scanned digital images became a painterly process for me, and I was able to recycle that way of thinking into the images that I made by hand. Adding text has become an important formal as well as a poetic tool.