Carne Griffiths’ artwork is born from a love of drawing and the journey of creating an image on the page. Working primarily with calligraphy ink, graphite and liquids, such as tea, brandy and whisky he draws and then manipulates the drawn line. Carne’s images explore both human and floral forms, figuratively and in an abstract sense. He is fascinated by the flow of line and the ‘invisible lines’ that connect us to the natural world. These may be considered lines of energy or spiritual connections between ourselves and our surroundings and his work is often an emotional response to images and situations encountered in daily life. These daily images are recorded in a dream like sense onto the page where physical boundaries are no longer important. His work creates a journey of escapism which focuses on scenes of awe and wonder, projecting a sense of abandonment and inviting the viewer to share and explore this inner realm.

After graduating from the Kent Institute of Art and Design, Carne served an apprenticeship and worked as a gold wire embroidery designer for 12 years, eventually becoming the Creative Director. His designs were used for the uniforms in the films Valkyrie, The Last King of Scotland, and in particular, his ‘Red Death Coat’ was used in The Phantom of the Opera. Carne’s elaborate floral designs for Asprey were included in their first ever catwalk collection and his work was featured on the embroidered cover of the 80th Royal Variety Performance programme.

Since establishing his own studio in 2010, Carne has exhibited both in the UK and overseas, with works shown at The Royal Academy, The London Original Print Fair, Stroke Art Fair and The London Art Fair, as well as solo Exhibitions in Brighton, Hong Kong, Milan and Hamburg. Carne’s illustration work has seen him collaborate with the leading British photographer Rankin for a six-page feature in Hunger magazine, and brands such as Microsoft, Derwent and Peroni. He has also featured in publications worldwide, notably creating work for several covers of the New York Observer and English Heritage magazine.

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