Somersham Fen 40 x 40 x 4 cm

This painting based on Somersham Fen has been created using oil and cold wax medium on a canvas stretcher. The intense yellow of rapeseed dominates the Fenlands at certain times of the year; it saturates the retina. For a painter, the task is to capture the overwhelming power of colour and yet also retain structure and form in the painting. The heavy impasto of cold wax helps to establish the solidity and sculptural qualities of the landscape near the Fenland village of Somersham.

‘We associate yellow with warmth, sunshine, and positivity. Bright yellow is an attention-getter, and its contrast with black is the most visible color combination.

‘Despite its association with cheerfulness and warmth, yellow carries a surprising number of negative connotations. Yellow is a symbol of cowardice, of sickness, and of mental illness. It’s the color of sensationalism and even of excess. Vibrant yellow is typically used with caution by designers, though paler yellows can certainly have a modest uplifting effect. Too much bright yellow can easily overwhelm a project’. source: The Meaning of Colour

Somersham Fen: (detail)
Somersham Fen (detail)

Just completed setting up the exhibition last night at the Locker Cafe. Many thanks to John, the owner of the Locker art cafe for his assistance with the hanging process. I will visit the cafe over the coming weekend when it is busy and full of customers… Maybe take a video to give you an idea of the overall layout and lively atmosphere. Don’t forget, if you are in town, take a break from your shopping, have a coffee, a bite to eat…enjoy the artwork.

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White House Road: Fenland

I think late Autumn and Winter are probably the best seasons for landscape photographers living in the Fenlands.  I know that Cambridgeshire doesn’t have the dramatic landscapes of the Lake District, the Yorkshire Dales or even the Trough of Bowland, but it does have something special.

At this time of year the landscape maintains a gritty and determined resolve.  There is a complete absence of pretension and prettiness.  The uneven roads and tilted telegraph poles, the isolated columns of tall trees,  vast skies with fields stretching to the distant horizon makes me feel as if I have been cast adrift on an open sea.

John Clare: The Fens

There’s not a hill in all the view,
Save that a forked cloud or two
Upon the verge of distance lies
And into mountains cheats the eyes.
And as to trees the willows wear
Lopped heads as high as bushes are;
Some taller things the distance shrouds
That may be trees or stacks or clouds
Or may be nothing; still they wear
A semblance where there’s nought to spare.

 

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‘Till’ by Peter Corr 60 x 60 cm

The Fenlands are highly productive agricultural land and at this time of year, farmers can be seen ploughing and tilling the earth in readiness for the next year. The tilling blades comb the topsoil, mixing and aerating as they are dragged across the fields. I have used plaster, oil and cold wax medium, alternately scoring and layering the materials to recreate the furrowed surface. The late evening light at this time of year has a warm soft glow that I have tried to capture with gold iridescent paint.

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Detail of ‘Till’ by Peter Corr

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Detail of ‘Till’ by Peter Corr