Shani Rhys James

Works
  • Shani Rhys James, Bed, 2021
    Shani Rhys James
    Bed, 2021
    Oil on linen
    70 7/8 x 70 7/8 in, 180 x 180 cm
  • Shani Rhys James, Figure in Orange, 2021
    Shani Rhys James
    Figure in Orange, 2021
    Oil on linen
    15 3/4 x 15 3/4 x 1 in, 40 x 40 x 2.5 cm
  • Shani Rhys James, Head against Zigzags, 2021
    Shani Rhys James
    Head against Zigzags, 2021
    Oil on gesso board
    19 3/4 x 19 3/4 in, 50 x 50 cm
    Signed, titled and dated on verso
  • Shani Rhys James, Head looking to the right, 2021
    Shani Rhys James
    Head looking to the right, 2021
    Oil on gesso board
    15 3/4 x 15 3/4 in, 40 x 40 cm
    Signed, titled and dated on verso
  • Shani Rhys James, Nastagio III (Blue Face Mask), 2020
    Shani Rhys James
    Nastagio III (Blue Face Mask), 2020
    Oil on linen
    120 x 150 x 2.7 cm
    Sold
  • Shani Rhys James, Bra Strap, 2019
    Shani Rhys James
    Bra Strap, 2019
    Oil on linen
    31 1/2 x 31 1/2 in, 80 x 80 cm
    Signed, titled and dated verso
  • Shani Rhys James, Combing Her Hair, 2019
    Shani Rhys James
    Combing Her Hair, 2019
    Oil on gesso board
    29 1/2 x 23 5/8 in, 75 x 60 cm
    Signed, titled and dated verso
  • Shani Rhys James, Turban, 2019
    Shani Rhys James
    Turban, 2019
    Oil on linen
    31 1/2 x 31 1/2 in, 80 x 80 cm
    Signed, titled and dated verso
  • Shani Rhys James, There’s Always The Bag, 2018
    Shani Rhys James
    There’s Always The Bag, 2018
    Oil on gesso on board
    24 1/8 x 24 1/8 in, 61 x 61 cm
    Signed and dated verso
  • Shani Rhys James, Shock, 2017
    Shani Rhys James
    Shock, 2017
    Oil on linen
    48 1/8 x 48 1/8 in, 122 x 122 cm
    Signed and dated verso
  • Shani Rhys James, Blue Top, 2013
    Shani Rhys James
    Blue Top, 2013
    Oil on canvas
    72 1/8 x 96 1/8 in, 183 x 244 cm
    Signed, titled and dated on verso
  • Shani Rhys James, Face Mask, 2010
    Shani Rhys James
    Face Mask, 2010
    Oil on linen
    13 x 9 1/2 in, 33 x 24 cm
    Signed, titled and dated on verso
  • Shani Rhys James, Studio Head, 2010
    Shani Rhys James
    Studio Head, 2010
    Oil on gesso board
    11 3/4 x 9 7/8 in, 30 x 25 cm
    Signed verso
  • Shani Rhys James, Red Ground, 2003
    Shani Rhys James
    Red Ground, 2003
    Oil on linen
    84 1/4 x 72 1/4 in, 214 x 183.5 cm
    Signed, titled and dated on verso
  • Shani Rhys James, Chicken Coop III, 1999
    Shani Rhys James
    Chicken Coop III, 1999
    Oil on linen
    72 x 84 1/4 in, 183 x 214 cm
    Signed, titled and dated on verso
  • Shani Rhys James, The Inner Room, 1999
    Shani Rhys James
    The Inner Room, 1999
    Oil on linen
    72 1/4 x 84 1/4 in, 183.5 x 214 cm
    Signed, titled and dated on verso
  • Shani Rhys James, The Ladder, 1993
    Shani Rhys James
    The Ladder, 1993
    Oil on canvas
    Framed: 99 5/8 x 67 3/8 in, 253 x 171 cm
    Unframed: 96 1/4 x 63 3/4 in, 244.5 x 162 cm
    Signed, titled and dated on verso
  • Shani Rhys James, Head I, 1992
    Shani Rhys James
    Head I, 1992
    Oil on gesso board
    10 3/4 x 9 1/2 in, 27.3 x 24 cm
    Signed, titled and dated on verso
  • Shani Rhys James, Self-Portrait with Red Beret, 1991
    Shani Rhys James
    Self-Portrait with Red Beret, 1991
    Oil on gesso board
    Framed: 50 3/4 x 41 in, 129 x 104 cm
    Unframed: 48 1/4 x 38 3/8 in, 122.5 x 97.5 cm
    Signed, titled and dated on verso
  • Shani Rhys James, Woman Smoking, 2011
    Shani Rhys James
    Woman Smoking, 2011
    Oil on canvas
    72 x 72 in, 182.9 x 182.9 cm
    Signed and dated verso
Biography

Considered by many the greatest living Welsh painter, Shani Rhys James has developed over a long and distinguished career a unique and highly personal style of intense psychological power. Taking almost exclusively the female figure - frequently herself - as her subject, Rhys James has continued to explore the role of women within domestic spaces.

 

In recent work Rhys James has explored the transience of being creating images that challenge the cyclical and relentless passage of life. The female figure has become entwined with images of flowers, either in the wallpaper that surrounds them or as part of a still life composition.  In Rhys James's paintings these forms take on a life of their own, subverting the traditional 'feminine' arts of still life painting and home decorating.

 

Rhys James has exhibited continuously throughout her career and won many awards including the prestigious Jerwood Painting Prize in 2003. She was the subject of the BBC’s documentary series ‘What Do Artists Do All Day’ in 2014 and her work is featured in many major collections including the National Museum of Wales, the Arts Council of England and Columbia University in New York. A publication on her work 'The Rivalry of Flowers' was produced in 2013, featuring an essay by critic Edward Lucie-Smith.

Exhibitions
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