Giles Ward

A fish that might initially appear silver or grey can reveal an extraordinary spectrum when Giles begins to study it. Mauves, purples, blues and flashes of unexpected colour emerge across the scales as the light changes.

It is this hidden world that fascinates him. Rather than simply painting the subject as we expect it to look, Giles searches for the smaller details — the shimmer of a scale, the pattern of a shell or the texture of a crab — and uses them as the starting point for the painting.

The result is work that feels both familiar and surprising. From a distance we recognise the subject immediately; up close, another world of paint, colour and texture begins to appear.

Fresh from the Fishmonger

There is something wonderfully direct about the way Giles finds many of his subjects. Rather than relying on photographs found elsewhere, he prefers to source the fish and seafood himself — from fishmongers, markets and, where possible, directly from fishermen.

Brixham Fish Market has been a particularly rich source of inspiration. Giles photographs his subjects while they are still fresh, before the translucent colour begins to fade, the eyes dull and the scales lose their distinctive glint.

Photography becomes part of the process rather than simply a reference. By controlling the light and spending time studying each subject, Giles can uncover colours and patterns that might otherwise go unnoticed.

Back in the studio, those photographs provide a starting point rather than a set of instructions. The painting develops through experimentation, allowing the original subject to become something altogether more expressive.

Building the Surface

Experimentation sits at the heart of Giles Ward’s practice. Although he works predominantly in oils, his paintings can incorporate acrylics, inks, spray paint, varnishes and an assortment of considerably less conventional materials.

Thread, sawdust and even crushed crab shell have all found their way into his work. Layers are built gradually, giving the surface a physical, almost sculptural quality that echoes the textures found in the subjects themselves.

There is no fixed formula. Paint can be layered, splashed or worked into the surface as Giles experiments with the effects created when different materials meet. That element of unpredictability is an important part of the process.

It means the finished painting rewards the same thing that inspired it: taking the time to look closely. What begins as a recognisable piece of marine life becomes an exploration of colour, material and the remarkable detail hidden within the natural world.