Carne Griffiths

Tea, brandy, vodka, whiskey, graphite and calligraphy ink are used by Carne Griffiths to create these striking portraits.

Range of Arts - Painting - Carne Griffiths - The Tempest
Range of Arts I Carne Griifths I The Tempest [Available]
The artworks of Carne Griffiths most frequently explore human and floral forms in a combination of both literal and abstract translation and in response to images and situations encountered in daily life, as Carne says he’s “fascinated by the flow of line and the ‘invisible lines’ that connect us to the natural world”. Images are recorded in a dreamlike sense onto the page where physical boundaries are unimportant. The work of Carne Griffiths 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.

Originally from Liverpool, Carne Griffiths graduated from the Kent Institute of Art and Design in Maidstone in 1995. After completing a one-year KIAD fellowship and moving to London, Carne Griffiths served an apprenticeship at the longest-established gold wire embroidery firm in the world, before becoming the creative director. Carne Griffiths produced intricate designs for the military and the film, theatre, fashion and advertising industries. The designs of Carne Griffiths 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 Griffiths’ elaborate floral designs for Asprey were included in their first ever catwalk collection and his works were featured on the embroidered cover of the 80th Royal Variety Performance program in 2008.

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Since establishing his own studio in 2010, Carne Griffiths has exhibited overseas at Urban in Ibiza in 2011 and Arts After Dark, New Orleans in 2010 and in the UK at the London Original Print Fair at the Royal Academy, the London Art Fair in both 2011 and 2012. Carne Griffiths also collaborated with the British photographer Rankin for a feature in the 2nd edition of Hunger Magazine early in 2012.


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