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DEFINING MY PRACTICE

Before the brush,
there’s the digging.

 

Process.

 

Thinking, finding,
reading, writing,
checking, changing.

 

Do I care enough to do this?

 

Bang.

 

We inhabit challenging times.
I don’t paint to decorate space.

 

I paint questions—
to ask,
to provoke,
to invoke.

 

Burns and churns,
exposed.

 

I don’t fling paint.

 

Journeys are imagined.
Bold colours contrast.
Layers build texture
and depth.

 

I add me.

 

So, linger a little longer,
dig a little deeper.

Let the art speak.
A flicker of hope?

 

I open a door.
 

Run through.

 

When my work sparks thought,
I am happy.

 

When it provokes some disdain,
that’s all good.

 

When it stirs instinct,
awareness dawns.

 

Conscience.

 

Bang.

 

My work works.

 

Pop.
Uncork the Champagne.

 

Repeat.

ABOUT ME

Where colour, texture,
language and
conscience meet.

Kevin Tharme Artist Profile Picture
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I am an abstract and conceptual artist based in the Tamar Valley, Devon. My work moves between painting, poetry and digital composition, often beginning with questions rather than answers.

Before working full-time as an artist, I spent more than thirty years running my own company in IT and design, alongside long-term voluntary work in mental health, environmental and community settings. Those experiences shaped the way I look at the world: with curiosity, empathy, frustration, humour, and a strong sense that what we notice — and what we ignore — matters.

 

I am also the creator of Artansa, a community art project supporting independent artists across West Devon and the Tamar Valley through shared visibility, connection, exhibitions and events.

 

My work often explores responsibility, silence, resilience, consequence and care. I am interested in the assumptions we make about one another, the stories we inherit, the systems we accept, and the moments when something previously overlooked becomes impossible to dismiss.

 

I use paint, texture, words and digital processes as connected but distinct languages. Oil paint allows emotion, gesture and physical memory into the work. Marble dust, layering and surface disruption create friction, weight and depth. Poetry and text appear when language needs to enter the conversation — not as explanation, but as another way of questioning.

 

I do not make work to tell people what to think. I make work to invite people to look again, think longer, and perhaps recognise their own place in what is being asked.

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