‘Musical Inspiration’ by Kate Nicholas, Artists & Illustrators, May 1996

‘To capture the chaos of the moving crowds of punters and performers at Brecon Jazz Festival, local artist Huw Parsons resorted to extreme measures and abandoned conventional illusions of space. In ‘The Jazz Quartet’ (1994) designed as a festival poster, he drew on the vocabulary of abstraction to convey the unconnected flow of music, integrating the sights and sounds into a whole. By restricting his palette to black, white, light blue and dull red, he merged disparate images into the melee:  “I also borrowed a few techniques from lino cuts,” he explained, “such as showing three dimensional forms as flat intersecting shapes, some of which are seemingly transparent, to reveal what’s behind them.” He also believes that “the greatest challenge when painting musicians is to capture the dynamics of what you hear, as well as what you see. You have to be inventive and use symbols to suggest the sound of music. These could be signs, such as musical notation – treble clefs or quavers – or they could be abstractions.” He thinks that artists have something to learn from modern music and its visual equivalents: “pop videos are interesting, because those who make them have the same kind of problems, in terms of finding imagery that is suggestive of music.”


‘Cash in Hand’ by James Hobbs, Artists & Illustrators, March 1997


‘A Better Class of Doggerel’ by Jan Price, published by Peevish Bee Books, June 2008


‘St Mary’s Book of Poems’ March 2011