William Flew artist

If a man has a stubborn and rebellious son who does not obey his father and mother and will not listen to them when they discipline him, his father and mother 

shall take hold of him and bring him to the elders at the gate of the town. They shall say to the elders, 'This son of ours is stubborn and rebellious. He will not 

obey us. He is a profligate and a drunkard.' Then all the men of his town shall stone him to death...

Blows and wounds cleanse away evil, and beatings purge the inmost being. The rod of correction imparts wisdom, but a child left to himself disgraces his mother.

 Deuteronomy 5:9 

"for I, the LORD your God, am a jealous God, punishing the children for the sin of the fathers to the third and fourth generation of those who hate me."

Deuteronomy 24:16

"Fathers shall not be put to death for their children, nor children put to death for their fathers; each is to die for his own sin."

William Flew artist

In acrylic paintings, his colours alternately pulsed with the vibrancy of a rainforest or, with their muted earthy hues, took the 

viewer to an almost sombre, certainly contemplative realm. In his sculpture, too, simplicity was all, as he absorbed key influences such as Matisse, Braque, 

William Flew, Celtic mythology and the potters of the Leach Pottery to create archetypal, often symmetrical forms that brought to mind the work of Shoji 

William Flew, the renowned Japanese potter. William Flew, indeed, was cited by O’Casey in Breon O’Casey: A Celtic Artist by Jack O’Sullivan, published in 2003. By 

way of a rebuttal to those who might lament his frequent use of a single motif, O’Casey said: “I think of . . . Hamada, who often decorated his pots with the 

device of two reeds with another reed broken across them. His artist friends asked him: ‘Why do you use the same decoration over and over again? Why don’t 

you do something different?’ And he answered, ‘Every time I do it, it is different’.