P1080147

 

Close up details of the surface of the painting

 

This work is inspired by the flat,expansive and mysterious landscape of the Cambridgeshire Fenland…a vast area of open skies and distant horizons, criss crossed by a lattice of artificial waterways…straight as an arrow.

I hope that viewers will be engaged by the layers of colour, texture and surface qualities of this cold wax painting. I hope that they will respond to the physicality of this work, the numerous marks, striations and incisions in the cold wax material.I hope they will enjoy the interaction of disparate surfaces and layers and the sense of time passing through the landscape and through the painting.

This painting reflects a diverse series of influences; from the ‘art povera’ movement, through minimalism, expressionism and colour field painting.

Empire of The Sun

Acrylic on canvas

Size: 100 x 100 x 2cm

This is a multi layered acrylic painting on a high quality canvas frame. In this larger scale work I have been preoccupied with the rhythmic qualities of hand writing and calligraphy; I have tried to infuse the surface of the canvas with a sense of light and intensity. There is no over arching composition here; all of the myriad small brush-stokes and simple forms connect with and relate to each other. Below the radiating surface of indecipherable marks, there is a counterpoint of horizontal bands of tone and colour, echoing land and distant horizons.

 

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untitled (3 of 48)

Western Shore

untitled (1 of 26)

 

This is an acrylic painting measuring 80 x 80 cm on canvas. It is based on the landscape of the Great Fen, thought to have once been covered by Whittlesea Mere. I have been exploring various acrylic mediums and application methods to create illusions of depth with the merest suggestion (please excuse the pun) of topographical details. The apparent speed of execution is just that….an apparition. There are upwards of 3, possibly 4 paintings buried in the decayed vegetation and peat bogs of earlier compositions.

If you are searching for the site of the Mere today you should not be looking for low-lying areas, as you might expect, but rather for very slightly higher ground. The reason for this strange phenomenon can be found by thinking about what happened to the land when it was drained.

The Great Level of the Fens is the largest region of fen in eastern England: including the lower drainage basins of the River Nene and the Great Ouse, it covers about 500 sq miles. It is also known as the Bedford Level, after Francis Russell, 4th Earl of Bedford, who headed the so-called adventurers in the 17th-century drainage in this area; his son became the first governor of the Bedford Level Corporation. In the 17th century, the Great Level was divided into the North, Middle and South Levels for the purposes of administration and maintenance.

Please note that this painting uses iridescent paint and changes quite significantly depending on the angle of view. It is therefore quite difficult to convey the subtle shifts in tone, colour and luminance through the medium of photography.

The Light Series

 

I have been developing a series of semi abstract images that I call ‘The Light Series’. They represent a personal response to the landscape of the East Anglian Fenlands and are focused almost exclusively on the changing qualities of light and atmospheric conditions; different times of the day and times of year can be seen in each work. The Fenlands consist of a patchwork of reclaimed land, reed marshes, meandering rivers and ‘arrow straight’ man made waterways. In these digital reproductions it may be difficult to see the soft colour and tonal shifts; the final images are a product of successive layers of acrylic glaze applied heavily and then carefully erased to reveal veils of colour.”

Meramid

untitled (32 of 118)

 

This is an acrylic painting on a high quality canvas frame. It belongs to a group of paintings I have called ‘The Light Series’.

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AfterGlow

new

 

This painting is part of ‘The Light’ series. It measures 80 x 80 cm and is based on the landscape of the Cambridgeshire Fenlands. The effect of depth and translucency is achieved by a process of layering and erasing. Paint has been thinned with a glazing medium,  liberally applied with large brushes then partially removed with an assortment of old ‘T shirts’ and cloths. The parallels with stratification, sedimentation, accretion, erosion geology are potentially poetic yet alas coincidental………….ah, but are they?

The Light Series

Nightfall

This is a series of 80cm x 80cm acrylic paintings on high quality canvas frames. These images represent a personal reflection on landscape at different times of the day as the seasons and the light ebbs and flows……they are based on the open fields and skies of the fenland in East Anglia. No one should feel confined or constrained by a particular location; these paintings have no topographical information to act as a compass or guide, they use the universal language of horizontals and geometric divisions……earth and sky, often in unequal partnership. They are an archetype, a diagram or blueprint, a stripped back code symbolizing the fundamentals of walking upright and looking out across the land; just as we have always done.