Clyde's technique of documenting the landscape was unique. On his long walks he would use a little camera and gather countless snaps, almost sketching with the camera. He would later mount them on card and then isolate the part of the image he would want to paint, never cutting a photograph, just framing an area of it, sometimes resulting in a tiny image.
"One of the major influences on my work has been Caspar David Friedrich (1774-1840), the German landscape painter who painted evocative scenes of mountains. He imposed upon everything he drew and painted (like Turner) an explicit or implicit sense of the power and mystery in nature. It is difficult to categorise his work as either religious or secular in character. Friedrich developed his 'Dunkel-licht' (dark-light) which pervades his painting. This has been a lasting influence on my own work because of the similarities between the light in North Germany and North Wales and also the landscape itself."
I am committed to expressing the wildness of Welsh landscape for its own sake, its left-aloneness. This is best summed up in the last stanza of the Gerard Manley Hopkins poem, 'Inversnaid':
Of wet and wildness? In them be left,
0 let them be let, wildness and wet;
Long live the weeds and the wilderness yet.