This highly textured painting on a solid oak block has just been sold to a collector in Scotland. Oak has a very dense grain and provides a resilient surface for the cold wax process. A variety of tools can be used with confidence to create a range of natural textures and fine surface markings. Multiple layers of wax have been used to generate the illusion of depth and translucency.
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.
I think late Autumn and Winter are probably the best seasons for landscape photographers living in the Fenlands. I know that Cambridgeshire doesn’t have the dramatic landscapes of the Lake District, the Yorkshire Dales or even the Trough of Bowland, but it does have something special.
At this time of year the landscape maintains a gritty and determined resolve. There is a complete absence of pretension and prettiness. The uneven roads and tilted telegraph poles, the isolated columns of tall trees, vast skies with fields stretching to the distant horizon makes me feel as if I have been cast adrift on an open sea.
John Clare: The Fens
There’s not a hill in all the view,
Save that a forked cloud or two
Upon the verge of distance lies
And into mountains cheats the eyes.
And as to trees the willows wear
Lopped heads as high as bushes are;
Some taller things the distance shrouds
That may be trees or stacks or clouds
Or may be nothing; still they wear
A semblance where there’s nought to spare.
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.
‘The Three Realms’ by Peter Corr
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.