Mon – Fri 8:30 am – 5:30 pm, Sat 9:30 am – 5:30 pm, Sun 10am – 4:00pm
If you are in Cambridge between 18th July and 18th August come along to the Locker Cafe, just opposite Tindalls art shop at 54 Kings Street. I will be displaying a range of paintings and photography from the last couple of years so there should be something of interest for everyone. The Locker cafe is a lively ‘arts’ based cafe founded by father and son team John and Adam Hodges in 2017. The paintings are primarily large scale abstract pieces in a variety of media including acrylic, bitumen, cold wax and oil paint. The monochrome photographs are based on the Fenland landscape.
This painting is based on the artificial lake called ‘Roswell Pit’ which is located on the edge of the City of Ely in Cambridgeshire. The work is something of a departure for me as I have used acrylic paint and a glazing medium and not oil paints and cold wax. To achieve luminosity and translucency I have applied multiple layers and short strokes of colour with a hatching technique. It is perhaps difficult to categorise the painting style but I see elements of Magritte and Surrealism, Monet and Impressionism and possibly aspects of colour field painting in the relative flatness of the picture plane.
This is an experimental painting on canvas using tar, oil paint and cold wax medium. Just recently, I have been trying to include more elements of drawing in my work, allowing the hand to make incisions without consciously controlling or dictating the final outcome. I guess I am attempting to eliminate myself from the process, to achieve a sense of originality and inevitability about the marks, undoubtedly a foolhardy enterprise. How can it be possible to draw without prior awareness of drawing? I recall the ‘blind drawing’ exercises we worked on in art classes; they often produced surprising and unexpected results. However, many of the students never quite grasped the purpose of these techniques and often felt they were creating interesting but more or less random ‘drawings’ lacking in observational skill.
How as an artist do you suppress and override all those aspects of knowledge surrounding line and form that we acquire over years of practice? The lyrical and poetic qualities of line become part of our skill set, our DNA, the sweep of the arm, the motion of the wrist; curves and contours, all the motor skills associated with looking and recording though drawing become ingrained and established.
I intend to explore and discuss this aspect of drawing further in the next few posts. I’ll be looking at the use of unconventional drawing implements and the significance of the material we choose to work with.
I took the opportunity during my Fine Art degree course at Manchester Art College to work in the print room. I really loved the process of etching, preparing the copper sheets, drawing into the wax surface, revealing the bare metal and immersing the plate in sulphuric acid. The depth of line being controlled by time and the concentration of the acid solution. It is always a magical process and difficult to predict the outcome. I guess in many ways I have come full circle; that was over 40 years ago and I’m still drawing, scoring into surfaces and creating marks.
This series of paintings use tar, oil paint and cold wax and to some extent they can be manipulated to echo the qualities found in intaglio etching. Many artists say they begin a work without preconceptions and just allow the image to emerge and take form.
One of the assumptions about this technique is that it leaves open the opportunity for the spontaneous and unexpected to arise as the work progresses. This may be the case with particular pieces and you may occasionally ‘get lucky’. I prefer to think that this approach is often quite calculated and measured. It is about generating visual ideas through accident and chance, then looking carefully and reflecting on what has been produced and intervening to strengthen those qualities.
The ‘detail’ images shown below will give you some indication of the nature of the marks and the subtlety of the wax and tar surface. Beeswax is a beautiful medium to work with; selective burnishing enhances reflective qualities and a sense of depth and texture.
I have just been working on a commission based on one of my recent New Forest paintings. It has taken over two months from start to completion and I am genuinely pleased with final outcome. For those of you who have worked on a commission before you will know that they can sometimes be problematic. I think it is extremely important to be clear about the nature of the painting process and to communicate this through discussion with the other party.
Each painting is inevitably unique and few artists would be able to recreate an existing painting or exact copy unless the style owed more to photographic realism and/or geometric precision. You will see from the close up details that this painting has been developed through the application of successive layers of oil paint and cold wax medium. The raised surface and tactile nature of the work embodies the textural qualities of the subject matter.
This is a large oil painting on a 122 x 92 cm canvas. It is semi abstract and expressionistic in terms of technique and approach. It is however, based indirectly on nature and more specifically on the hedgerows of the fenland in East Anglia. Trees, brambles and woody shrubs such as hawthorn, blackthorn and field maple create an exuberant entanglement of chaotic growth.
The material and paint I have used is applied with a variety of tools including brushes, palette knives and assorted scrapers. As you will see, the surface is built up in heavy impasto layers and translucent glazes accumulating over a period of time. I have been working on this piece for a couple of years now and it has undergone numerous changes; that is just part of my process. Some of you will no doubt see the influence of the contemporary artists Anselm Kiefer and Gerhardt Richter.
…..And what you thought you came for
Is only a shell, a husk of meaning
From which the purpose breaks only when it is fulfilled
If at all.
Either you had no purpose
Or the purpose is beyond the end you figured
And is altered in fulfilment.
There are other places
Which also are the world’s end, some at the sea jaws,
Or over a dark lake, in a desert or a city—
But this is the nearest, in place and time,
Now and in England.
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.
For me, a title is an important element in the creation of a painting. I know that many abstract painters use numerical systems to identify and classify their work. I prefer to title each image and through the invention of the title, try to enhance the life, associations and potential relevance of the work. In this instance, I really wanted a title that would express in a very direct way, the inspiration and the key components of this painting which of course relate to landscape. The title of this painting therefore is relatively straightforward; it refers to the three realms of earth, sky and water. I wasn’t aware until later that ‘The Three Realms’ has other, in many ways more interesting connotations. In Nichiren Buddhism ‘The Three Realms’ are, according to Quora:
(1) the realm of the five components
(2) the realm of living beings
(3) the realm of the environment.
These could be thought of simply as, from the standpoint of a human being, the person, society and the environment.
The materials used in this painting include oil paint, pumice stone and cold wax medium. The heavy impasto creates an almost rough hewn marble like surface pitted and marked with successive layers of cold wax and oil paint.
‘After the Rain’ 80 x 80 cm on canvas by Peter Corr
‘After the Rain’ could be seen as a departure from the tonality and minimalist approach I have been using recently, but even so, this painting remains firmly in the realm of abstraction.
The weather here in England is a a limitless topic of conversation for all of us and we have just experienced one of the hottest Summers on record. However, the wind and rain is never far away and this painting reflects my experience of cycling though the Fenland landscape, experiencing alternate moments of warm sun, showers and gusts of wind. In Cambridgeshire, the wind either carries you along on your cycle or stops you in your tracks. I can travel the same journey in half or double the time depending on the prevailing wind direction. I am increasingly convinced that the weather here in this part of the world is a living entity, a whimsical creature, a chameleon.
Detail from ‘After the Rain’ by Peter Corr
In ‘After the Rain’ I have tried to convey a sense of movement and changing light, using angular shapes, a kaleidoscope of colour and dissolving forms. You may detect the spatial devices of overlap, fragmentation and multiple viewpoints employed by the Cubists and later on, the Italian Futurists.
“……..Nobody would affirm that the tree grows its crown in the image of its root. Between above and below can be no mirrored reflection. It is obvious that different functions expanding in different elements must produce divergences”.
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.
This is a mixed-media landscape painting on a 100 x 75 cm deep edge canvas. Semi abstract and expressionistic in terms of technique and style, it is based on my day to day experience of living in the dramatic Fenland landscape of East Cambridgeshire in England. The heavy texture of the painting combines gesso, sand, plaster, bitumen and iridescent metallic paint. I wanted to create a work that was almost tangible in terms of its physicality and weight, a painting that could be seen as a piece of sculpture or stoneware ceramic. The materials used are applied with a variety of tools including brushes, palette knives, assorted scrapers and cards. The surface impasto is witness to an extended process of accumulation and sedimentation, very much akin to the layering of earth over time. I have been influenced by the contemporary artists Anselm Kiefer and Gerhardt Richter.
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.