Richmond’s subjects wear stylized armour, which reflects the natural world’s innate fragility and resolve to protect itself against all threats, both abstract and immediate. Her Animalia exist both in our absence and our gaze, commenting on the life our actions have granted them, as much as that selected by nature itself.
Born and raised in Gloucestershire’s Stroud Valleys, Richmond now lives and works in the beautiful Wiltshire village of Ramsbury. After familial expectations led to a conventional life and career, her early promise as an artist was left unfulfilled. It wasn’t until her thirties that she turned a corner and began her journey back to art practice with animal studies in fired ceramics. This eventually led to a second career as a commercial sculptor, but the 2009 recession led to a tapering-off of her sculpting work, leaving in its wake the opportunity to return to painting. Years of experimentation and false starts culminated in “The Carnival of Wonders,” a sustained, allegorical meditation on wildlife that remains at the core of her practice.
To learn more about Ann Richmond’s artistic process, art materials, and much more, visit the comprehensive FAQ, available HERE.
Hyland’s unwavering passion for the intricacies of the English language has positioned him as an adept practitioner of “prompt engineering,” a critical skill in the realm of AI art generation. This mastery of language is the foundation upon which his artistic endeavours with AI are built.
With the aid of AI, Hyland is now able to breathe life into the vivid visions that have long resided within the confines of his imagination. This newfound freedom has proven to be nothing short of transformative, allowing him to explore uncharted creative territories and push the boundaries of artistic expression.
In embracing AI as a creative partner, Hyland has embarked on a remarkable journey, one that promises to captivate and inspire art enthusiasts, all while continuing to evolve as an artist in the ever-expanding landscape of AI-generated art.
