How should you title an abstract painting?

‘The Three Realms’ by Peter Corr

The Third Realm.jpg
‘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 Third Realm (2)
Detail of ‘The Three Realms’ by Peter Corr

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.

After the Rain: Peter Corr

bitumen paintings_165.jpg

‘After the Rain’ 80 x 80 cm on canvas by Peter Corr

‘After the Rain’  could be seen as a departure from the tonality and minimalist approach I have been using recently, but even so, this painting remains firmly in the realm of abstraction.

The weather here in England is a a limitless topic of conversation for all of us and we have just experienced one of the hottest Summers on record. However, the wind and rain is never far away and this painting reflects my experience of cycling though the Fenland landscape, experiencing alternate moments of warm sun, showers and gusts of wind.  In Cambridgeshire, the wind either carries you along on your cycle or stops you in your tracks. I can travel the same journey in half or double the time depending on the prevailing wind direction. I am increasingly convinced that the weather here in this part of the world is a living entity, a whimsical creature, a chameleon.

bitumen paintings_171

Detail from ‘After the Rain’ by Peter Corr

In ‘After the Rain’ I have tried to convey a sense of movement and changing light, using angular shapes, a kaleidoscope of colour and dissolving  forms. You may detect the spatial devices of overlap, fragmentation and multiple viewpoints employed by the Cubists and later on, the Italian Futurists.

“……..Nobody would affirm that the tree grows its crown in the image of its root. Between above and below can be no mirrored reflection. It is obvious that different functions expanding in different elements must produce divergences”.

Paul Klee

 

Paradise

IMG_3349.jpg

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

Today in the studio, 21st September: Avoiding self delusion

Today in the studio, 21st September: Avoiding self delusion

wpid-wp-1442834704551

Additional layers of cold wax, deeper black tones to build contrast and depth. More removals and reinstatement, but travelling slowly in a direction I’m reasonably comfortable with. Endlessly surprised by my lack of insight into my own work, I have to leave it for a day or two before I can actually understand what I have done and need to do… If I continue working without a significant pause for assimilation and reflection (preferably a few days or maybe even a week) I become delusional. I can persuade myself that bad work is good, that the composition is dynamic, fresh and original, that the colour relationships are challenging yet harmonious……..the list of misreadings goes on…and on………….

Current Studio Work: Making Judgements

Current Studio Work: Making Judgements

image

As each successive layer of cold wax dries, I build additional marks and surfaces with an assortment of palette knifes and tools, scraping back where a colour or tone is too dominant or suffocating. I didn’t know paint could be claustrophobic…but it can, intensely suffocating and airless…..sucking out the very life we try to capture. Knowing when a painting has arrived at a destination is never  simple…all artists know this….its a difficult judgement to make and we can always be wrong. So many factors come into play, tension, harmony, contrast, compositional structure….this is especially true of work that is primarily abstract and does not need to conform to a particular code of realism. It is a question of ‘rightness’ ; knowledge, experience  and technique will only take you so far…..then your’e on your own.

Red Fen: Original Oil Painting on Canvas: 40cm x 75cm x 4cm petercorr.com

Red Fen: Original Oil Painting on Canvas: 40cm x 75cm x 4cm petercorr.com

Red Fen: This is an abstract painting based on the Fenland landscape. The layers of intense translucent deep red pigment are surrounded and bordered by emerald greens. This paint is applied with a soft stippling technique and the transitions of tone. almost imperceptible. The image has a restrained emotional power and is influenced by the work of the abstract expressionists.
untitled (209 of 234)
Red Fen : Detail
untitled (207 of 234)
Red Fen: Detail