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‘Arcadia’ by Peter Corr 122 x 92cm

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.

 

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Detail of ‘Arcadia’

…..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.

From a poem by T.S. Eloit

 

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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

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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.