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MARCH 16th 2018 

Celebrating the welsh landscape and it’s history has been a passion of mine for 10 years. This collection marries together some of the loved spaces in Wales where I have enjoyed growing up and revisiting; with a recent expedition in November 2017 to Patagonia to retrace the story of the Welsh Settlers voyage 152 years ago from a 21st Century perspective.

I have been bringing together scenes of the Pembrokeshire coast, Laugharne and Port Talbot Steelworks, places I know and paint with avid excitement; alongside paintings of the the expansive deserts, glacial mountains and lush green valleys of Patagonia. I travelled with my friend and filmmaker, Al Green, to the Welsh Settlers first point of contact: Puerto Madryn, and Welsh heritage towns of Trelew and Gaimon. Here we met the second-generation descendants of the Settlers and enjoyed the legacy of a cream tea at their tea house ‘Ty Gwyn’. I painted across the Andean Foothills of Trevelin and Cym Hwfrydd, on the border to Chile, to pay homage to Kyffin Williams’ arrival here 50 years ago. Following in the footsteps of Kyffin and the Welsh Settlers made an indelible mark on this journey, but it was also important to present a story of the Patagonia ‘I’ experienced. By documenting the journey through film, sketches, and hiking to the summit of Patagonia’s vast and formidable Andean Mountains, Fitz Roy and Torres Del Paine; and produce large enpleinair paintings to celebrate the link between Wales and Patagonia. After 4 weeks and 2000km exploring this historic region, the dramatic landscape, generosity and hospitality of the people made this period a prolific, inspiring and an enriching chapter in my life.


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Very Excited to announce I have been made a

member of the Royal Cambrian Academy. Thank

you to the members for their decision.

RCA logo

6 / 1 / 15

MoneyWeek Article about my new work!


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Huge thank you to New Blood Art for recent efforts in promoting the new work. Nearly Sold out! Only a few pieces left.

New Work coming soon for an exhibition at the Sarah Wiseman Gallery in Summertown (Oxford) January 17th – 31st  in 2015. Watch this space!




Have now moved out of the Milking Shed in the Vale of Glamorgan in South Wales, to BRISTOL! Enjoying the transition and New Work is coming out.



29/4/14    ‘Painting of the Month’ – Picked by the Editor of Cardiff Life Magazine 





14/4/14 Fantastic Private View at the Albany Gallery! Thank you to everyone that came.





Fellow for the Royal Society of Arts


Very happy to announce that have been just been nominated and voted in as a Fellow for the RSA. Thank you to everyone for your support, patronage and comments. I’ve thoroughly enjoyed producing the work and making my job my passion. Looking forward to working with the charity!




“Peter Kettle’s works have the surfaces of well-worn exterior walls, buffeted, corroded but long to withstand the effects of time and weather – this gives them an enlivening stoicism. The alchemy of light and landscape through mixed media and technique is a quality that shines through in each of the paintings. Strangely they combine an organic tangibility with an urban aesthetic, the palimpsestic appearance of temporarily unadorned billboards, and the still lifes of Georges Braque.”   New Blood Art



‘If you can’t milk, paint!’

Fisheye Palettefeknig Profile




‘If you can’t milk, paint!’ My studio exemplifies this dictum, as I work in the dis-used milking shed at the bottom of Llysworney, Wales, and neighbours are thirty argumentative tenants – a herd of cows. Then again, their plaintive mooing is probably comment on my tuneless efforts to sing Thin Lizzy until two in the morning.

The shed is bitterly cold in the winter; and I have felt the brunt, this year, after this squatting season refused to move out for spring, inviting chill-blains and raw finger-tips; but the size is incredible and well worth the pain. Every artist should suffer for their art in some form, and mine comes in a heatless concrete milking shed, but C’est la Vie!

My work is drawn from sketches (apologies for the pun) made on location, re-visiting the areas repeatedly to gather ideas, observe and document. I find this indispensably important as a landscape artist, to get out and enjoy the environment. The journey of travelling along the coasts, dipping into the vales and battling the squalls of my surroundings is an integral part of the process; and every visit upturns a new stone and a demand for a new painting. With every exhibition I like to accompany my paintings with the sketch books I have compiled and I use them to begin experimenting with textures and colours. Click on the sketches tab to see some examples