Martyn Cross (1975) is an emerging artist that holds a BA in Fine Art from Bath Spa University.
Cross is primarily a painter engaged with ‘world making.’ The act of painting for him is a means to explore the inner life and strangeness of the ordinary. Each work begins in reality, with recognizable limbs and elements of landscape, which transform into uncanny scenes.
Cross has firmly cemented himself in Bristol’s painting scene, engaging in studio visits, talks and critiques, his creative milieu has allowed for a consistent sharing of ideas. For twenty years, Cross’s practice ran alongside being a book seller. 2020 was a pivotal year — the world shutting down impelled Cross to pursue art making full time, resulting in a prolific practice.
In the studio Cross surrounds himself with the eclectic things that inspire him, including images of medieval wall painting, old English churches, the work of Forest Bess, Cecil Collins and William Blake, to science fiction books and walking sticks. The myriad of inspiration enters subconsciously into the work. Reoccurring motifs emerge — billowing clouds, tumbling waterfalls, oversized pointing fingers and bright suns create an immersive world. Biomorphic landscapes speak to mythologies, but in Cross’s paintings the narratives are knowingly ambiguous. Familiar and mysterious, quiet and epic, scale and irregularity in proportion puzzles the viewer. Questions remain unanswered and meaning remains a mystery to the artist himself.
These worlds pour out of Cross, initially making drawings in sketchbooks, oil pastels and large charcoal works, he explores limitless possibilities for paintings. Paintings are made in contemplative layers; the pigments remain vibrant – his application and exquisite use of colour creates works that hum. Sanding and scratching the surface, Cross strives to make paintings that have lived a life, the trace of their existence evident. Deliberately hard to place in history, there is a timelessness to Cross’s paintings, reminiscent of unearthed artifacts.
Cross has exhibited work at many galleries, nationally and internationally, including Hales London, UK; Marianne Boesky, New York, NY.; Ratio 3, Los Angeles, CA; OSHSH Projects, London; Flatland Projects, Bexhill-On-Sea, UK; Modern Art, London; Oceans Apart, Manchester, among others. Cross' work is in the collections of the Arts Council Collection, London, UK; Institute of Contemporary Art, Miami, USA and NN Contemporary Art, Northampton, UK. Cross was shortlisted for the John Moore Painting Prize 2023.
© 2025. All content on this blog is protected by international copyright laws All images are copyrighted © by Martyn Cross or assignee. Apart from fair dealing for the purpose of private study, research, criticism or review as permitted under the Copyright Act, the use of any image from this site is prohibited unless prior written permission is obtained. All images used for illustrative purposes only

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| Martyn Cross |
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| Swans and Horses, 2018 |
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| Pierce the Fine Fabric of the Sheltering Sky, 2018 |
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| Hips-n-Haws, 2018 |
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| Between a Thought and a Thing, 2020 |
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| Wooden Fingers, 2021 |
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| Never Seen Such Nowhereness, 2021 |
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| Dig, 2021 |
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| Deep Time, 2021 |
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| Because the End is Really the Beginning, 2021 |
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| Mandrake, 2021 |
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| King of Bliss, 2021 |
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| Dark Laundry, 2021 |
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| Fer Floten, 2022 |
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| Surfacing, 2022 |
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| There is Nothing in which I Have not Been, 2022 |
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| A Tomb for Immortal Ascension, 2022 |
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| Double Yolker, 2022 |
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| From These Last Days Onwards I Fly, 2022 |
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| Let Us Go Hence, 2022 |
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| Monument, 2022 |
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| Rampant Dodder, 2022 |
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| Rasp and Blare, 2022 |
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| Roarings Further Out, 2022 |
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| Swamp, 2022 |
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| The Great Conversation, 2022 |
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| The Lidless Eye of God, 2022 |
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| I Heard a Voice, 2023 |
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| Mist Eater, 2023 |
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| The Melody That Never Changes, 2023 |
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| Amid the Alien Corn, 2024 |
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| Changeless Mirror, 2024 |
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| Think God, 2024 |
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