Landford, New Forest

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‘Landford, New Forest’ 122 x 92 cm

This is a large mixed media painting on a 122cm x 92cm on a canvas frame. It was produced from studies created during my residency in the New Forest; the work is partly expressionistic and impressionistic in terms of technique and style. The key medium is cold wax and oil paint applied with a variety of tools including brushes and palette knives. The surface is built up in heavy impasto and scored, etched and systematically redrawn over a period of time.  The detail insert (below) should provide some indication of the rich tactile qualities encrusting the surface of the painting. My working method allows for various incarnations of the painting to present themselves before the final image crystallises. This work in particular has undergone numerous transformations. I originally had in mind a view of the forest infused with intense light and colour, but it has progressively mutated towards a more poetic and subdued interpretation of dusk in the forest.

I have been influenced by the contemporary artists Anselm Kiefer and Gerhardt Richter. If you have a moment, take a closer look at the detailed photographs to gain a more tangible sense of the textural qualities in this work.

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Detail from ‘Landford, New Forest’

Residual Cross

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‘Residual Cross’ 60 x 60 cm

This is one of a new series of paintings continuing and extending my interest in less conventional art materials. I have drawn inspiration from the raw and unadorned nature of the Fenland landscape and tried to reflect the rich tactile qualities of the earth  fusing tar, bitumen, hessian, oil paint and cold wax medium. My approach is gradually becoming more instinctive and physical, often working directly on the floor, scraping, dissolving and burning materials until unpredictable and unexpected transformations take place. When I reach a point were the image really begins to surprise and engage me, I have found a resolution.

The grid like imagery refers obliquely to the patchwork quilt of fields and enclosures as if rendered from an aerial perspective. The gouges, marks and striations echo the relentless impact of man and farming on the natural world.

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Detail from ‘Residual Cross’

River City

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‘River City’ 100 x 100 cm

River City is a mixed media acrylic painting on a canvas frame. It belongs to a series of paintings loosely based on the city of Cambridge. We can never really know a particular place or location, not in a purely visual sense, not even through the so called objectivity objectivity of the camera lens. There are so many different ways of seeing, understanding and interpreting; our view of the world is a subjective, personal experience. It changes as we change. The Cubists new a thing or two about perception.

I developed this painting through an exchange of ideas, thoughts and materials, you could call it a dialogue. What you see here is the result of many ‘conversations’, a constant give and take between what I think I have to say as a painter and what the painting says to me. A painting will invariably contradict me and tell me I am mistaken, on the wrong track. Sometimes, I delude myself into thinking I am in charge but I know my place; ‘painting’ is a collaboration, a combined effort, an ongoing debate. What you see here is a partnership between planning and accident, conceit and humility, confidence and deflation, wisdom and foolishness, seeing and not seeing.

 

Cradle

Abstract Landscape painting on canvas
‘Cradle’ 122 x 92 cm

This is a large mixed media painting on a 122cm x 92cm professional quality canvas. It was produced from studies created during my recent residency in the New Forest; the work is partly expressionistic and impressionistic in terms of technique and style. The medium is cold wax and oil paint applied with a variety of tools including brushes , scalpels and palette knives. The surface is built up in heavy impasto and alternately glazed and scored over a period of time.

I have been influenced by the contemporary artists Anselm Kiefer and Gerhardt Richter. If you have a moment, take a closer look at the detailed photographs to gain a more tangible sense of the textural qualities in this work.

This painting is currently on exhibition at The Old Fire Engine House in Ely until 28th October along with work from the artists Paul Janssens and Caroline Forward.

Mario Merz, Zebra

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Mario Merz, Zebra,  Novecento museum, Milan, Italy

A key member of the Arte Povera group, Mario Merz produced expansive mixed-media paintings, sculptures, and installations, through which he propagated an egalitarian, human-centered vision. Through art, he counteracted what he saw as the dehumanizing forces of industrialization and consumerism. Together with compatriots including Jannis Kounellis and Michelangelo Pistoletto, Merz eschewed fine art materials in favor of everyday and organic matter, like food, earth, found objects, and neon tubing. In 1968, he presented his first igloo, which became a motif in his work, representing the fundamental human need for shelter, nourishment, and connection to nature. By 1970, the Fibonacci sequence became central to his work, shaping the tables and spiraling forms for which he was known, and incorporated into his igloos and canvases. In these Merz sought limitlessness, against the confines of modern life.

http://www.artsy.net

 

Excavation

black and white landscape photograph Cambridgeshire Fenland @petercorr.com
black and white landscape photograph Cambridgeshire Fenland @petercorr.com
Excavation

The conceptual artist Richard Long would have enjoyed using these industrial machines. On the road leading to the village of Coveney, old irrigation ditches are being refurbished. Giant earth moving equipment cuts through the clay subsoil in V cross sections, like a knife through butter. Water immediately flows into the channel and mirrors the sky.  These large scale sculptural interventions will never find their way to the Tate Modern turbine hall…but they really should.

Gilded Shore

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‘Gilded Shore’  100 x 75 cm 

Gilded Shore is an abstract painting in terms of technique, style and intention. It is based on the flat, open landscapes of the East Anglian, Cambridgeshire Fenland. Semi transparent glazes give depth and luminosity as light is reflected through the layers of pigment. The variegated surface of the painting is achieved with thickly applied bitumen and cold wax medium. The lustrous quality or sheen is achieved through a combination of burnishing the wax surface and interleaved layers of metallic paint. A variety of tools and implements have been used to create incisions, marks and subtle textures that can be read as earth, sky, and water. The restricted references to three dimensional space is designed to create a subtle counterpoint the pictorial flatness of the deep raw and burnt umbers.

 

EXPLORE 4th – 28th October 2018

EXPLORE 4th – 28th October 2018

Final Fire Engine House Poster

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If you are visiting Ely in Cambridgeshire do come along to the Old Fire Engine House to see an exhibition of recent paintings by myself, Paul Janssens and Caroline Foward. The exhibition is called EXPLORE and the preview night is on the 3rd October, 6 – 8pm. We would love to see you there.