The 2018 Little Van Gogh Artist Residency Announcement

 

I am now the second Little Van Gogh artist to have been awarded this New Forest residency. Really looking forward to the opportunity!

SElf Portrait

 

‘As an artist, I see visual ‘reality’ – the external world – as only a part of our understanding and perception. We see in relation to ourselves, our past, and the events that shape us as individuals. If my paintings have an uncertain quality it is because I feel that the world within us and around us is in a constant state of flux and transformation. During my residency in the New Forest I hope to produce work that reflects aspects of the location and environment but I don’t envisage that it will be a direct visual replica of what I see’.

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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.

Mixed Media painting on canvas:60 x 60 x 4cm

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This is a mixed-media landscape painting on a 60cm x 60cm 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 word ’till’ is interchangeable with ‘until’ and I have tried to reflect both meanings in this piece. Working with the land is about understanding time and intervals of time, it is about 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 the painting combines gesso, sand, plaster, marble dust, bitumen and oil paint. The material and paint is applied with a variety of tools including brushes and palette knives. 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.

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‘Land Fall’ is an idea, not a location. In Winter, when the ground is hard underfoot, the activity of man scores pathways and coordinates on the surface. There is little or no high land in Cambridgeshire, only a gentle rise and fall of the earth, almost subliminal, to be measured in micro centimetres. This painting is a rich, textured mixed media piece on a deep edge canvas; gold and metallic paints have been added to create areas of lustre and iridescence. I have attempted to take a range of photographs, some in raking light to reveal the ever changing surface qualities.

 
Dimensions: 60cm x 60cm x 4cm on canvas

Materials: Oil and acrylic on canvas, Paper, Graphite, Bitumen, Asphalt.

River City (provisional)

untitled-3-of-3100 x 100 x 3cm acrylic and oil paint on canvas

‘River City’ is just a holding name at the moment. I know approximately what I want to say, but haven’t quite found the combination of words that will shed some light on the painting. I know that for some artists, titles for paintings are not necessarily important; some artists even decide to number their work sequentially, particularly with abstract paintings.

For me, a title can add certain qualities to an image, they often act as a bridge between the artist and the viewer. Interestingly,  a random title generator is available free to use (see link below) which can be a lot of fun if you want to create something entirely meaningless and bizarre. I don’t think ‘Secret Ode to Lonely St George’ quite has it………..I’ll keep working on it and let you know how it goes.

The Abstract Art Titlegenerator – Noemata.net

You can see this painting at the Michaelhouse Centre in Cambridge from November 7th – 19th

 

 

 

 

Detail from ‘River City’

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This painting is part of my ‘Cambridge Envisaged’ series. It is a mixed media, abstract work based on the city of Cambridge in the United Kingdom. Cambridge is a world renowned  university city and the recurring motifs of Gothic arches and ancient doorways provide a visual rhythm, reflecting both the passing of time and continuity. The textures and patina of well worn stone respond to sight and touch. At this time of year, shafts of diffused golden light illuminate walkways, paths and enclosed architectural spaces as you wander through the colleges and grounds.  The river Cam flows through and across the city, below the ornate towers and spires, carrying new life and  old memories.

‘Optical Mantra’ Canvas size: 80x80x2cm

This is a mixed media acrylic painting on canvas; one of a series of paintings to be shown at the Michaelhouse Centre in Cambridge at the ‘Cambridge Envisaged’ exhibition this November. I wanted to represent the city primarily through abstraction by  using archetypal shapes, colours and textures that reflect aspects of the buildings and townscape. The composition plays alternately with illusionistic perspective and a flat ‘map like’ design, never quite allowing the eye to settle on a particular viewpoint or reading.

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‘Hierarchy’ Canvas size: 80x80x2cm

 

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River City

Acrylic painting on canvas 100 x 100 cm

I am currently working on a series of paintings based on the city of Cambridge in the UK.

This is a multi layered mixed media acrylic painting on a high quality canvas frame. I am currently working on a series of paintings based on the city of Cambridge. I don’t believe that we can ever really know a particular place or location, not in a purely objective way, not even through the ‘impartiality’ of a camera lens. There are so many different ways of seeing, understanding and interpreting; our view of the world is a subjective, personal experience.

I have developed these paintings through a sort of conversational process, an exchange of ideas and thoughts; of talking and listening. What you see here is the result of many such conversations; a constant give and take between what I think I have to say as a painter and what the painting has to say to me. The painting often contradicts me and frequently suggests that I may be mistaken in my views. Out of consideration for my feelings it may abruptly suggest alternative ways of progressing. I sometimes delude myself into thinking I am directing the conversation but I know that this human activity of ‘painting’ is a joint construction, a combined effort. What you see here is a partnership between planning and accident, conceit and humility, confidence and deflation, wisdom and foolishness, a conversation between friends……we were just talking about the city…..I expect the conversation will continue.