Patrick Hughes artist was born in Birmingham in 1939 and grew up with no formal art education and was mostly self taught. At a young age he began to become fascinated by optical illusions. When sheltering under the staircase from the German bombs in the Second World War he was taken back by the reversal of the stairs normal self.

Patrick Hughes artist first solo show was in 1961 at the Portal Gallery in London. He then became a Senior lecturer in painting and drawing at Leeds from 1964 – 1969. Patrick has held several one-man shows particularly at the Angela Flowers Gallery and has participated in various group exhibitions in the UK and Europe. His work is in several private and public collections including the British Council, the Victoria & Albert Museum and the Print Collection at the Tate Gallery. In 1979 he won first prize at the Tolly Cobbold/Eastern Art National Exhibitions. His first one-man exhibition in New York was held at the Edward Weston Gallery in Soho in 1983.

In the 1970s and 80s Patrick Hughes artist was inspired by rainbows, ‘A rainbow is a transitory event composed of water, air and light. I tried to give it a mass, permanence and personality.’ Hughes rainbows are the reverse of the romantic: hard-edged, leaning against walls, emerging from dustbins, posted through letter-boxes. They exemplify those qualities in art which he cherishes above all: the paradoxical, the absurd,the magical and the poetic. Hughes’ surrealistic leanings have been influenced by artists such as Paul Klee, Marcel Duchamp and Rene Magritte.

Patrick Hughes artist is also a writer and philosopher having published three books on wordplay such as More on Oxymoron (1984). More recently Hughes has become renowned for his reverspective work, these works have been exhibited in London, New York, Santa Monica, Seoul, Chicago, Munich and Toronto. These reverse perspective works are three-dimensional and play with perspective through the reversal of concave and convex. He lives and works in East London.

‘INSIDE OUT’ IS A LIMITED EDITION SILKSCREEN PRINT BY POP ART ARTIST, PATRICK HUGHES

Limited edition of 150

Silkscreen print

54.7x73cm

1981

Signed by artist

Rainbows were key to Hughes’ exploration of visual paradox:

‘People did not understand my rainbows. A rainbow is a fugitive temporary thing, a sign for a rare and passing event, so I made it permanent, trapped it, and made it cast a shadow—and so on. I continually contradicted it. I saw the irony in the pinning down of this butterfly.’

‘CLOUDY II’ IS A LIMITED EDITION SILKSCREEN PRINT BY POP ART ARTIST, PATRICK HUGHES

Price: £975

Limited edition of 130

Silkscreen print with glazes

69×91.6cm

2010

Signed by artist

Extends Hughes’ theme of hearts;  a theme which has always been central to his oeuvre. Here Hughes juxtaposes the severe grey interior of a room with a brilliantly blue sky-filled heart. Cloudy II perfectly captures Hughes’ optimistic and romantic outlook.

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‘SPLASH OF COLOURS’ IS A LIMITED EDITION SILKSCREEN PRINT BY POP ART ARTIST, PATRICK HUGHES

Price: £769

Limited edition of 20 – a very small & rare edition

Silkscreen print

107×77.7cm

1982

Signed by artist

Rainbows were key to Hughes’ exploration of visual paradox:

‘People did not understand my rainbows. A rainbow is a fugitive temporary thing, a sign for a rare and passing event, so I made it permanent, trapped it, and made it cast a shadow—and so on. I continually contradicted it. I saw the irony in the pinning down of this butterfly.’

Charming and whimsical, and highly representative of Hughes work in the 80s.

FREE UK Delivery
For outside the UK we will contact you by email
see delivery costs here…





‘COLOUR PROCESS’ IS A LIMITED EDITION SILKSCREEN PRINT BY POP ART ARTIST, PATRICK HUGHES

Limited edition of 250

Silkscreen print

56.5×75.5cm

1984

Signed by artist

Rainbows were key to Hughes’ exploration of visual paradox:

‘People did not understand my rainbows. A rainbow is a fugitive temporary thing, a sign for a rare and passing event, so I made it permanent, trapped it, and made it cast a shadow—and so on. I continually contradicted it. I saw the irony in the pinning down of this butterfly.’