This is a mixed-media landscape painting on canvas. It is semi-abstract and expressionistic in terms of technique and style but there are elements of perspective and simple spatial devices employed in the work. It reflects my day-to-day experience of living in the understated yet dramatic Fenland landscape of East Cambridgeshire. The word ‘till’ is interchangeable with ‘until’ and I have tried to suggest both meanings in this piece. Working with the land is about understanding time and intervals of time, it is about the importance of rhythms of activity and inactivity, of waiting, of anticipating……until. It can also refer to a vault; a place to hold treasure.
The heavy texture of this painting combines gesso, sand, plaster, marble dust, bitumen and oil paint. The materials have a direct relationship to the physical qualities of the land and I feel this gets me closer to the reality of earth. I apply the materials with a variety of tools, scoring, carving and digging back through the surface with multiple layers. I often work outside the studio so that I am not constrained by the need to keep materials and paints in check. I enjoy working in the open air…. like walking through the landscape, it is a liberating experience.
This painting based on Somersham Fen has been created using oil and cold wax medium on a canvas stretcher. The intense yellow of rapeseed dominates the Fenlands at certain times of the year; it saturates the retina. For a painter, the task is to capture the overwhelming power of colour and yet also retain structure and form in the painting. The heavy impasto of cold wax helps to establish the solidity and sculptural qualities of the landscape near the Fenland village of Somersham.
‘We associate yellow with warmth, sunshine, and positivity. Bright yellow is an attention-getter, and its contrast with black is the most visible color combination.
‘Despite its association with cheerfulness and warmth, yellow carries a surprising number of negative connotations. Yellow is a symbol of cowardice, of sickness, and of mental illness. It’s the color of sensationalism and even of excess. Vibrant yellow is typically used with caution by designers, though paler yellows can certainly have a modest uplifting effect. Too much bright yellow can easily overwhelm a project’. source: The Meaning of Colour
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.
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.
…..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.