Andrew Burns Colwill, Greville Smyth Park, Bristol, January 2024
I found this piece, by Andrew Burns Colwill, in my archives and I can’t for the life of me understand why I haven’t posted it before. His work is so good that every time I photograph it, I try to post it on Natural Adventures. Something went wrong with the system here, but at least I am putting things straight now.
Andrew Burns Colwill, Greville Smyth Park, Bristol, January 2024
I have a feeling that the incredible mural may have been painted as an Upfest piece back in 2022, but I only photographed t in January 2024, so not only am I slow in posting it, I was also very slow in finding in in the first place. As with all of Andrew Burns Colwill’s pieces there is a strong story happening here, and my interpretation is that mankind is running out of time on this beautiful Earth. There is a deep sadness in the piece which is extremely powerful. As ever Andrew Burns Colwill reminds us of our fragile relationship with the place we call home.
Andrew Burns Colwill, Cheltenham Road, Bristol, July 2024
Andrew Burns Colwill is one of Bristol’s finest artists, whether painting on canvass or enormous walls like this one in Cheltenham Road. A man so full of character, who has lived life to the full, is kind and thoughtful, and in the limited opportunities I have had with him, is great company. His talent is immediately obvious, and he tops my list of artists in Bristol.
Andrew Burns Colwill, Cheltenham Road, Bristol, July 2024
Andrew Burns Colwill paints quite a lot of commissions like this one, but because they aren’t in the usual graffiti/street art spots, they can often go unnoticed and without fanfare. This piece is very much themed around Bristol and Isambard Kingdom Brunel in particular, with a portrait of the great engineer himself, the SS Great Britain, the Clifton suspension bridge and The Great Western Railway. The piece is called ‘The pen is mightier than the sword’ and in the current context of rioting around the country, how resonant these words would seem to be.
Andrew Burns Colwill, Cheltenham Road, Bristol, July 2024
The full piece is difficult to photograph, because it is painted on two sides of the building, and it is four stories high. ABC uses a clever device at the ground-floor level with the draughtsman’s hands included as part of the artwork, painting the archways, as if it were a work in progress.
Andrew Burns Colwill, Cheltenham Road, Bristol, July 2024
Above that are scenes of the 19th century docks and railway. The top two floors are more contemporary in style and speak of the present day.
Andrew Burns Colwill, Cheltenham Road, Bristol, July 2024
There is quite a lot of trompe l’oeil work on the upper levels, with four extra windows painted alongside the existing real ones. The arts are heavily represented with pens, brushes, pencils and written music adorning the walls. Two young people complete the scene alongside a dove of peace. This is a truly magnificent mural painted in Andrew Burns Colwill’s understated wash style. Awesome. Bravo!
Andrew Burns Colwill, Queen’s Road, Bristol, August 2023
This absolutely sensational piece by Andrew Burns Colwill, is another from the paint jam celebrating 650 years of Bristol, and is the one that probably most closely follows the brief. The idea behind the paint jam was to celebrate Bristol, to paint with brushes (no spray cans), and to paint in a Renaissance style. Andrew Burns Colwill manages to nail it with this outstanding mural.
Andrew Burns Colwill, Queen’s Road, Bristol, August 2023
These pictures somehow got stuck in my pipeline system for publication, and were prompted (rediscovered) by yesterday’s Martin D’Acy piece, which is pretty much adjacent to this one. The elephant in the room with these pictures is the rather unfortunate and prominent street furniture, in the form of scooters and bins. I thought long and hard about waiting to get some ‘clean’ pictures of the piece, but felt publishing them ‘warts and all’ was probably more authentic, and the scooters in particular are directly referenced in the work. I will return however and get a clean shot to post here in due course.
Andrew Burns Colwill, Queen’s Road, Bristol, August 2023
The piece is in two halves, split vertically down the middle, with the left-hand side being the old city and to the right the modern city. His soak stain technique creates a washed appearance and extraordinary atmosphere. The old city, painted in light optimistic hues, is prosperous and on the up, and alludes to its merchant connections and seafaring trade. There is beauty in the characters, oxen and architecture that Andrew Burns Colwill has captures perfectly.
Andrew Burns Colwill, Queen’s Road, Bristol, August 2023
Contrast this with the right-hand side of the piece, which is a little darker in shade and mood. There is an impersonal sense that prevails as individuals rush from one place to another on their scooters, emblematic transport of our time. Like so much of his work, Andrew Burns Colwill tells a story here, and it is not all good. The optimism and vibrancy of our past has not ended with the social progress and cohesion we might have expected, but with an almost dystopian present.
The story is clear, and most beautifully painted. If you happen to visit Bristol, take a moment to seek out this piece and spend time looking at it and feel the history of the place.
I recently shared a gallery of outstanding artwork from the brilliant Andrew Burns Colwill on my personal Facebook page (I rarely use it these days), and it had a very positive response, which is not surprising really, such is his talent. I came across this piece, which was painted for last year’s Weston Wallz (I think), on a recent visit to Weston-super-Mare, with my friend Paul H.
Andrew Burns Colwill, Weston-super-Mare, May 2023
Andrew Burns Colwill doesn’t shy away from making bold political statements, and much of his recent work has been about the potential impacts of climate change. In this piece he lampoons Parliament, and with some justification, and presents politicians and apes, the central Orangutan being draped in a Union Jack. Political commentary goes hand in hand with a lot of street art, but rarely so beautifully painted. I am reminded that I haven’t yet posted his Upfest piece from last year… so much to do. This was a very pleasant discovery.
A couple of weeks ago, I took a day off and decided to take a trip up to Weston-super-Mare to photograph some epic new pieces by Irony and Dan Kitchener. On the way home I decided to call in at Burnham-on-Sea, because I had seen a few pieces on Instagram and anyhow, I had never been there before. I am so glad that I did, not least because I got to see this magnificent piece from Andrew Burns Colwill.
Andrew Burns Colwill, Victoria Street, Burnham-on-sea, September 2021
ABC is without doubt one of the best fine artists in Bristol, and he carries his canvass work seamlessly across to large walls without appearing to break step, and the end result is pieces like this one.
Andrew Burns Colwill, Victoria Street, Burnham-on-sea, September 2021
Now, I haven’t done any research, and perhaps I should have done, because I have no idea what this is all about. I mean I get the donkey bit, with the association with a holiday beach, but the toilet completely baffles me, and could have a plethora of meanings. Perhaps in this instance it would be better not to swell on the meaning and instead to focus on the quality and skill of an artist at his absolute best. It is worth a trip to this sleepy seaside town for this piece alone.
From my favourite Bristol artist, Andrew Burns Colwill, is this outstanding new mural for Upfest’s 75 walls in 75 days event. Everything about this triptych piece is pretty much perfect. From the wall selection and use of the spaces to the highly political content, let alone the brilliant execution using his soak stain technique.
Andrew Burns Colwill, Luckwell Road, Bristol, July 2021, Upfest 21,
My interpretation of the three suited figures in a pool represents the drowning of our Government and in particular senior ministers who, let’s face it, haven’t exactly covered themselves in glory over the last few years. On the left could be Sajid Javid, our SoS for health who took over the role from the utterly incompetent and indiscreet Matt Hancock. It doesn’t really matter who it is as they are representative of the Conservative Party political gang who care more about power than they do about the citizens who put them there.
Andrew Burns Colwill, Luckwell Road, Bristol, July 2021, Upfest 21,
The central panel is more obviously a caricature of our utterly ridiculous Prime Minister who is now completely under the control of his power-hungry wife Carrie Johnson who seems to have more influence over government policy than he does. The pantomime continues, although it is more of a tragedy as our country slips into isolation and irrelevance.
Andrew Burns Colwill, Luckwell Road, Bristol, July 2021, Upfest 21,
The final panel, with the red budget box, is obviously our beloved (not) chancellor Rishi Sunak who appears to have hoodwinked the entire country into thinking he is our saviour. I don’t feel particularly saved. The bar amongst the cabinet is so low, that anyone with the slightest talent shines like a beacon, but it is all comparative. So the piece certainly portrays a failing government and failing ministers and it is delivered in a tranquil, calm and resigned manner that gives the piece so much power. It is brilliant.
Andrew Burns Colwill, Luckwell Road, Bristol, July 2021, Upfest 21,
Andrew Burns Colwill is also amazing at creating those tiny little details that add so much to a piece, like this little drip of water oozing from a real crack in the wall. A sensational piece and commentary on our current political state. Bravo!
I genuinely miss my occasional conversations with Andrew Burns Colwill. I haven’t seen the artist for well over a year now, possibly two, and that is far too long. During that time I haven’t seen too much of his street work either, so it was with great joy that I found this recent piece by him on the wall of the North Street Standard.
Andrew Burns Colwill, North Street Standard, Bristol, April 2021
One of the things that chimes for me with all of ABC’s work is the environmental theme at its heart, and this piece is more overt than some of his work, with a direct call to action emblazoned on the left hand side.
Andrew Burns Colwill, North Street Standard, Bristol, April 2021
The Earth sitting at the top end of an hourglass is a fabulous visual metaphor for the urgency of the predicament we find ourselves in. As the Earth drips down into the lower half of the hour glass, a face is seen in the centre, as if the soul of the planet was being drained out.
This is a fabulous piece of fine art from one of my favourite people in Bristol.
We all must do what we can, and we can do what we must.
There is so much going on in this magnificent piece by Andrew Burns Colwill, but it is not busy…on the contrary it is calm and peaceful which is somewhat at odds with a fragmenting world it represents.
Andrew Burns Colwill, Upfest, Bristol, July 2018
I like Andrew Burns Colwill very much, both as an artist and as an acquaintance, and I managed to catch up with him a couple of times during the festival. He had started early, so by the time I first found him on the Friday, his work was already well underway.
Andrew Burns Colwill, Upfest, Bristol, July 2018
The piece combines several ideas and themes, but the obvious one is a representation of the biggest issue of our time (other than climate change), Brexit. The world is represented by an apple, and we hold it in our (multicultural) hands.
Andrew Burns Colwill, Upfest, Bristol, July 2018
A bite has been taken from the apple and is seen sinking in the water below. A closer look at the lost piece of apple shows the UK cut-off and drifting away all alone. One can read in so many metaphors into this work – brotherhood, loss, a gift, urbanisation and so on, but for me it is the isolation of the UK that stands out.
Andrew Burns Colwill, Upfest, Bristol, July 2018
A most brilliant piece, and one of the highlights of the 2018 festival.
I have known about this mural for several years, but just never stopped to take a picture of it until very recently, and it looks as good close up as it does from a distance. It is by the hugely talented and lovely Bristol Artist Andrew Burns Colwill.
Andrew Burns Colwill, Westbury Hill, Bristol, August 2018
Painted in 2011, this mural depicts a giant looking out of a window and uses the trompe l’oeil technique to provide a false perspective that there is a window in the wall and that render has fallen, exposing brickwork underneath. It is in fact a flat wall.
Andrew Burns Colwill, Westbury Hill, Bristol, August 2018
I love the little details in the piece…the rose in the window sill and the ivy dropping down from the top of the window, and of course the cracks and the brickwork make this a truly magnificent piece, that I expect the good people of Westbury-on-Trym take for granted.
Andrew Burns Colwill, Westbury Hill, Bristol, August 2018
There is something rather forlorn about the giant’s expression and there is an untold story unfolding – the words ‘and the giant looks on, still waiting…..’ – tell us all is not well and I fear a broken heart is just around the corner. A most wonderful piece.
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