Pieter Bruegel (revisited)
This is a departure from my usual work, but I thought you might enjoy this adaptation of Pieter Bruegel’s famous painting ‘The Peasant Wedding’.
This painting is currently on view at the exhibition at Storey’s Field Centre in Cambridge at Eddington Ave, Cambridge CB3 1AA .
This painting, as with many of my recent pieces, has been inspired by my residency in the New Forest in England. The title refers to the sense of architectural power conveyed by the towering, magnificent columns of ancient trees. For me, the forest does indeed represent an authentic spiritual temple and is a precursor to all of our man made structures.
The medium is oil and cold wax. I hope the additional detail photographs will allow you to see the complexity of the surface texture within the darkness of the forest undergrowth.
Cambridge Open Art Exhibition Top Twenty
Thursday 24th October – 21st November
Mondays 09:00 to 20:00
Tuesdays 09:00 to 20:00
Wednesdays 09:00 to 20:00
Thursday to Sunday times vary depending on other bookings at the Centre.
Gap of Dunloe, Black & White Lustre PrintFuji C-Type Lustre 20 x 16 inches
Please email for different sizes firstname.lastname@example.org
This is a short video of me at work on a relatively large painting. It will give you some idea of how I approach the challenge of working on big surfaces. This is a 200 x 150 cm custom made canvas and the scale presents new challenges, forcing you to adopt different methods and techniques.
I have deliberately avoided brushes for this stage of the painting: an assortment of rollers and palette knives are used to block in the main areas of colour. For me, it is important to establish the overall composition as quickly as I can, it really doesn’t matter if these early indications and suggestions are obscured or abandoned. I am always alive to the notion that the painting will undergo many changes of direction; in a sense each new direction can only be based on previous decisions and judgements. The key is to make some judgements and decisions, they can always be modified as the work progresses. These early layers are essentially a way of breaking the ice, they may be obliterated by subsequent layers but they do begin the process of finding a composition whilst simultaneously building impasto and texture.
Paintings on this scale use considerable amounts of material and this has to be taken into account at the outset. There would be little point in adopting a parsimonious attitude towards materials and thereby restricting your creative options. Part of the joy of painting this big is the freedom to use materials with genuine exuberance and conviction. If you are worried about the quantity of paint you are using, I imagine this concern and hesitation would inevitably show in the work. Painting big requires physical movement, energy and action and you have to resist the temptation to reach for the fine sable brushes. Playing safe always seems like an attractive option but it is generally counterproductive in painting; in an effort to exert control over the exciting events unfolding in front of you the encounter becomes more about accountancy than art.
As you can see, the painting is in the early stages, I’ll update you as I progress over the next few days and weeks. If you have any questions please don’t hesitate to ask.
In the last day or so I have added additional layers to this work and tried to ensure that the selected materials interact in both challenging and unexpected ways. The inclusion of shellac and emulsion paint with powdered pumice stone creates unpredictable textural qualities and patina. Gloss, satin and matt painting media combine to reflect and absorb light. Bitumen, partially diluted with turpentine has been allowed to flow across the surface settling in crevices and darker pools. I am much happier with the overall direction of the work now, although it would be fair to say that the more experimental approach has clearly resulted in a loss of definition and resolution. Whether this is acceptable in the long run…only tomorrow will tell, when I begin all over again.