Glyn Hughes 1931 - 2014

343 He came to Cyprus in 1956 as a Welsh teacher who responded to an invitation to come to Cyprus made by friends he had made in college. His brother had already introduced him to the island since he did his military service in Cyprus. “I came here by chance, but at the same time I was very lucky. A happy coincidence.” Fifty-eight years later, by then considering himself a Cypriot painter, Glyn Hughes passed away at dawn on October 23rd 2014 aged 83. We reprint the interview he gave to Christina Lambrou in 2008. She notes that “Glyn Hughes is one of those people who shaped contemporary art in Cyprus as we know it today, not only through a consistent and significant artistic production but also through a series of activities that created the conditions for the active participation of the general public in cultural events.” The establishment of Apophasis Gallery together with his close friend Christoforos Savva was a milestone in the Cypriot cultural landscape and it is in the yard of their gallery [first in Sophocleous Street and then in Apollonos Street] that the public first came into contact with daring for those years and innovative art forms, such as happenings. During the same period, the two artists organised exhibitions showing their own and other artists’ works, as well as lectures, traditional music nights, discussions and play readings. During its operation, the gallery acquired legendary proportions, attracting intellectuals, scientists and diplomats to a place essentially bohemian. At the same time, one cannot but mention Hughes’ critical writing –although adapted to the Cypriot courtesy it was rarely negative– which is considered a reference point to the shaping of the island’s art scene. Let me tell you a story. I grew up in an industrial town in Wales. Those who worked in factories learned to speak English. And so I grew up in a truly Welsh town, where at the end of the day no one spoke Welsh. When I went to school, those who spoke Welsh had some privileges; it was a matter of politics. So I decided to learn Welsh, but ended up being ridiculed by some of my classmates. Because those who made fun of me were stupid Welsh nationalists. This experience was decisive for me. The language, rather than a means of communication, was a huge barrier. When I arrived in Cyprus, I decided to attend Greek lessons. Guess what: after my first day, the building was bombed by nationalists. And so I did not go back the next day. That was in 1956. [pause] Don’t you think that perhaps this is the reason why I paint so much? Because in fact I’m not an artist by nature... I’m a teacher, I love theatre, I have always wanted to be a professional dancer or something like that... I wonder if that first bad experience with Welsh pushed me towards painting. It is a very strong memory for me, however. Of course, I painted when I first arrived here, but I never imagined that I would be a painter for the rest of my life. I did many things, after all. I had, for example, directed the Birthday Party [by Harold Pinter], something quite progressive for the time. Yes, I did several groundbreaking things.” Interview by Christina Lambrou The interview was first published in the newspaper Politis on 22 June 2008