I am now the second Little Van Gogh artist to have been awarded this New Forest residency. Really looking forward to the opportunity!
‘As an artist, I see visual ‘reality’ – the external world – as only a part of our understanding and perception. We see in relation to ourselves, our past, and the events that shape us as individuals. If my paintings have an uncertain quality it is because I feel that the world within us and around us is in a constant state of flux and transformation. During my residency in the New Forest I hope to produce work that reflects aspects of the location and environment but I don’t envisage that it will be a direct visual replica of what I see’.
I stumbled across this ready-made Christo in the grounds of Anglesey Abbey, near Cambridge. I think they would be delighted.
‘When Christo began to wrap objects in 1958, he used everyday objects such as shoes, telephones and empty paint cans to make his sculptures. Once wrapped, the objects would take on a new identity. By wrapping them, he would reveal some of the most basic features and proportions of the object by concealing the actual item. Christo and Jeanne-Claude later expanded this idea in projects such as The Pont Neuf Wrapped and the Wrapped Reichstag, but on a much larger scale. While the intricate details of the structures are hidden, the essence of the structures are revealed all the while making the imposing and solid structure seem airy and nomadic’.
‘The use of real fabric also gives the work a fragile, sensual and temporary character while wrapping objects is definitely an important part of their œuvre, Christo and Jeanne-Claude have done very few wrappings in comparison to their whole portfolio of artworks. It is easier for some to grasp the wrapping concept and refer to their artworks entirely as “wrapping,” but the work is more about altering an environment than wrapping – which is only one way to do that. The last time the artists had an idea for a wrapping was in 1975, when they had the idea of wrapping the Pont-Neuf in Paris, ten years before they realized the work of art.’
Coveney is a village north of Cambridge in Cambridgeshire in the UK. It is part of the Cambridgeshire Fenlands, an extensive flat terrain of fertile agricultural land once flooded but systematically reclaimed with the help of Dutch drainage engineers. I frequently cycle along these narrow and uneven roads, avoiding the pools of water and stretches of mud churned up by fleets of farm vehicles that criss cross the fens at this time of year. When I see something of interest, I stop and capture the scene with my camera.
This is a mixed-media landscape painting on a 103cm x 76cm deep edge canvas. It is 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 and oil paint. The material and paint is applied with a variety of tools including brushes and palette knives with the surface is built up in layers and glazes over a period of time. I have been influenced by the contemporary artists Anselm Kiefer and Gerhardt Richter.
In nature time is always occupied; endlessly engaged, transforming surfaces, altering appearances….. staining and corroding, layering and revealing, cleansing and encasing.
This image uses successive layers of cold wax, allowing for heavy impasto and fine incisions with a variety of tools and instruments. It is based directly on the landscape of the Fens seen within a ten mile radius of Ely cathedral. Most days I am out on my bike, cycling through this landscape in all weathers…I stop to draw, take photographs and just allow the scenes to etch into my memory.
New video of me painting in my art studio and playing the banjo in claw hammer style. I hope you like it!
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