This is a large oil painting on a 122cm x 92cm professional quality canvas. It is semi abstract and expressionistic in terms of technique and style. It is however, based on nature and the abundant growth seen in the hedgerows of the fenlands of East Anglia. Trees, brambles and woody shrubs such as hawthorn, blackthorn and field maple make up a mature hedgerow. The material and paint is applied with a variety of tools including brushes and palette knives. The surface is built up in heavy impasto layers and translucent glazes over a period of time. I have been influenced by 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.

From a poem by T.S. Eloit

This is a painting about music, rhythm and the rich aural textures and the timbre of sound. The chords and colours of the painting reflect my interest in the acoustic guitar, its tonal range and versatility. The curved and straight lines found in the shape and structure of the instrument are used to provide contrast and compositional harmony. Elements of Cubism are evident in the multi-faceted viewpoints and the intersection of foreground and background spaces.

‘Counterpoint’ 75 x 52 x 4 cm on Canvas
Detail
Detail

‘Half Moon’ 60 x 60 x 4 cm on Canvas

My painting ‘Half Moon’, currently on exhibition at the Babylon Gallery in Ely has just been bought by a collector. This is a highly textured mixed media painting using cold wax, oil, bitumen and a wide assortment of mark making tools. The exhibition is open until 6th September and I hope you will get a chance to visit if you are in the area. My daughter, Louisa also has a painting in the Summer Open exhibition called ‘Modern Times’.

‘Modern Times’ 60 x 60 cm Acrylic on Canvas

Somersham Fen 40 x 40 x 4 cm

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

Somersham Fen: (detail)
Somersham Fen (detail)

‘Sienna’s World’ Anglesey Abbey
‘Christina’s World’ Andrew Wyeth

The black and white photograph of my granddaughter was taken at Anglesey Abbey in Cambridgeshire. The painting below, which many of you will be very familiar with, set in the coastal landscape of Maine was created by the American artist Andrew Wyeth. Wyeth’s painting is a penetrating psychological portrait and a vivid representation of the inner world of Christina Olson who, because of a muscle degenerative disease, was unable to walk. It is undoubtedly a powerful and memorable image. When I took the ‘shot’ of Sienna, she had just befriended a tiny snail on a leaf and was gingerly carrying it up the embankment; she had already given it a suitable name and was completely lost in her own imaginary world. When I looked at the photograph later, I immediately recognised the composition I had unwittingly borrowed. The house, the gradual incline, the perspective and the viewpoint. Of course the psychological drama was necessarily absent but it does reveal the extent to which we make aesthetic judgements based on our previous experience.