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.
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
A traditional portrait of the artist in monochrome. These are the paintings from the first week here in Woodlands, hope you like the ‘moody’ black and white photograph taken by my daughter Louisa….it’s a good option to show the texture of the works.
This is a cold wax mixed media painting on a high quality canvas frame. It is based on my experience of the Fenland landscape. It is not a visual record of a specific place, or a celebration of a well known structure or familiar location. 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.
“Bones are patient. Bones never tire nor do they run away. When you come upon a man who has been dead many years, his bones will still be lying there, in place, content, patiently waiting, but his flesh will have gotten up and left him. Water is like flesh. Water will not stand still. It is always off to somewhere else; restless, talkative, and curious. Even water in a covered jar will disappear in time. Flesh is water. Stones are like bones. Satisfied. Patient. Dependable. Tell me, then, Alobar, in order to achieve immortality, should you emulate water or stone? Should you trust your flesh or your bones?”
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.
This is an oil painting on a deep edge canvas 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. Sound Stage…….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.