Nigel Bird

Ever since I can remember I have made art. My Dad was an artist and graphic designer who, together with gifted teachers, encouraged me to make art and to develop an individual view of the world, to develop originality, and make work that is entirely my own. The majority of my work originates from the natural environment. I only wish that my drawings could be as big as the open air.

Much of my work originates from the landscape. My recent work is as much to do with the process of making as it is about what I see, hear, smell, taste, feel or touch. The nature and character of the place that inspires me, how it might have been made and its spiritual significance are features that inspire me to make my art. I do not use colour. Instead, I rely upon using the raw, innate colour of black pastel, charcoal and Indian ink. These can make debris that I sometimes integrate into the composition of the image. The debris sometimes being of paramount importance to the meaning of the image. Some of the work I do is large, big enough for me to be physically and actively involved in the making of marks, attempting to reflect something about the spirit of the place that inspires me.

Nigel Bird

An idea not ideal

Ink on paper 101 x 91 cm 

Despite the majority of art being a visual experience, inspiration arrives across the range of senses; sight, smell, sound, touch and even taste. If powerful enough the impact of that experience can be told via the artists recount of the moment. It is in that retelling that we are allowed to see the journey of the response, the development of the work itself. We are invited to suppose, assume, wonder and it is right there that we can sense the authenticity of the instinct to make marks.

Nigel’s mark-making is exquisite. Beyond that, there is a sense of urgency in the need to express using a language that has to be significant to him as well as sympathy for his inspiration.

The marks in many works can be quite calligraphic. The sense of communication is strong with subtle variations of direction and weight of stroke. This lexicon of marks demands our attention and invities us to sit and listen to this story. Optical devices are used to seduce our gaze; circles that draw us in, gaps from which we may exit if we desire, signposts to suggest our way in or out.

Glen Innes The Wonderbook

Available original works

Circles II

Ink on paper   90 x 90 cm

Circles I

Ink on paper   90 x 90 cm

Curved Moon

Pencil on paper   95 x 65 cm

Landmarks wet and dry

Ink on paper   87 x 87 cm

Score 2

Ink on paper   100 x 65 cm

An idea not ideal

Ink on paper   101 x 91 cm


Mixed media on paper   64 x 51 cm


Available prints

Working with our new Poster company McFarlane and Slade, Nigel has made 3 works available as contemporary art posters. We are delighted to be able to make them available to our Slade Centre customers before they are officially published in January. 

Nigel Bird is a local artist so the opportunity to support him as well as offer our customers an early bird opportunity seemed too good to refuse.