Gilded Shore

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‘Gilded Shore’  100 x 75 cm 

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.

 

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EXPLORE 4th – 28th October 2018

EXPLORE 4th – 28th October 2018

Final Fire Engine House Poster

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If you are visiting Ely in Cambridgeshire do come along to the Old Fire Engine House to see an exhibition of recent paintings by myself, Paul Janssens and Caroline Foward. The exhibition is called EXPLORE and the preview night is on the 3rd October, 6 – 8pm. We would love to see you there.

Paradise

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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

New Forest Paintings

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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.

New Forest (Ditchend Brook)

 

IMG_9937John Wise, author of The New Forest: Its History and Scenery, first published in 1862, knew a thing or two about the New Forest.

He offered this suggestion: ‘The best advice which I can give to see the New Forest is to follow the course of one of its streams, to make it your friend and companion, and go wherever it goes. It will be sure to take you through the greenest valleys, and past the thickest woods, and under the largest trees. No step along with it is ever lost, for it never goes out of its way but in search of some fresh beauty’.

I followed John’s advice and followed the Ditchend Brook yesterday, which I have to acknowledge doesn’t necessarily sound promising, but ……..what’s in a name? Always look beyond the label

And there are many streams to choose from: Linford Brook, Dockens Water, Latchmore Brook, Ditchend Brook, Mill Lawn Brook, Highland Water, Black Water, Ober Water, Bartley Water, the Lymington River, the Beaulieu River and far, far more. I think I may have some titles for my work.

Stone and Water

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Painting: Oil Cold Wax and Mixed Media on Canvas

Size: 80 x 80 x 2cm

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?”

Tom Robbins, Jitterbug Perfume

 

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Close up detail of the painting surfaces