I spent a number of days walking amongst the trees and gathering information for a series of paintings through drawing and photography; I absorbed the sights and sounds of the trees in the forest and found a way to recreate something of that experience in paint.
I am interested in surfaces and textures and the way materials can be combined to create tactile qualities. Cold wax can be applied in thin layers or heavy impasto. It can be scored, scoured and burnished like a rich stoneware ceramic glaze; it can left dry, broken, fragmented and uneven. I have included up a number of close up photographs to give some indication of the extremely rich and highly textured surface of the painting; you can also begin to see in the reflections, the depth and lustre contained in the burnished wax.
They paved paradise
And put up a parking lot
They took all the trees
Put ’em in a tree museum
And they charged the people
A dollar and a half just to see ’em
Don’t it always seem to go
That you don’t know what you’ve got
’Til it’s gone…
Joni Mitchell, from “Big Yellow Taxi,” lyrics written circa 1967–68
This is an oil painting on a cradled wooden board using a cold wax medium. The cold wax process favors rapid execution and energetic marks or gestures, encouraging the creation of layers of translucent color, texture and impasto. Perspective is deliberately ambiguous and suggested only by changes in scale and the intensity of colour values. This painting is influenced by abstract expressionism and a deliberate simplification of forms.
This theme is a continuing exploration of landscape and nature, specifically the flat landscape of the Cambridgeshire Fenlands, but generally…all land. Excavation……..because I am interested in the history of the land, the accretion of time and changes wrought by man, the taming of nature, the exercise of control and imposition of order. The division and subdivision, ownership and stewardship. But more than anything else, the land is an endowment, a gift from one generation to the next.