Gold Hill: A Painting by Peter Corr

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Gold Hill A Painting by Peter Corr
Gold Hill:A Painting by Peter Corr
Gold Hill Detail Abstract Painting on Wood by Peter Corr
Gold Hill (detail)

There are no hills in the Fenlands, but here and there low ridges break the flatness. In our fevered imaginations these 5 to 10 metres of reluctant altitude become the golden hills of a shared aspiration. Keen cyclists who have lived here far longer than they really ought to, speak of ‘brutally steep inclines’, ‘body position’ and ‘low gear momentum’. As painters, we take liberties with the time/space continuum…..creating our own interpretation of events. It isn’t a translation, its more of a transcription. Or maybe it’s the other way around.

Vale of Eden 120 x 70 x 4 cm Acrylic on Canvas

Mixed Media & Acrylic painting  on Canvas
‘Vale of Eden’

I completed this relatively large acrylic piece about 2 years ago and it is definitely lighter and more colourful than my recent work. Generally abstract in terms of technique it is loosely based on the rhythms and cycles of growth seen in nature. I guess we all go through cycles in our approach to painting – and life – moving between what might be considered irrational exuberance and returning to the safe haven of sober reflection.

The surface is built up with impasto medium, combined with tissue, leaves, newsprint and card. In the later stages, translucent glazes have been added to increase the perception of depth and luminosity. I have long since arrived at the conclusion that my fascination with Cubism and Futurism is inherent in everything I do creatively.


In April 2018, I completed a two week residency in the New Forest. The residency was awarded to the winner of a competition organised by the UK based company ‘Little Van Gogh’. I was given the opportunity to work in a studio located above a blacksmiths workshop near the village of Ashurst in the New Forest. This was a wonderful experience in many ways and an extremely productive period for me creatively. I am still working on paintings and ideas that have developed from the residency and I will be holding an exhibition of the completed works next year. View my New Forest Series here.

Abstract painting on canvas
100 x 100 x 4 cm

This is a painting about perception and movement, about how we catch glimpses of the world around us and then proceed to construct a reality we can live with. I cycle most days – you know the bike is surely one of our greatest inventions – covering about 10 miles or so at a fairly leisurely pace. I enjoy being in and moving through the landscape, experiencing the changes in light and colour each day inevitably brings. Sometimes around this time of year, the sky is an intense blue and the warm sun flickers through the gaps between trees and hedgerows. Even at my pedestrian pace, I rarely register details, just a kaleidoscopic collection of shapes, colours and textures bombarding the retina. The futurists knew a thing or two about the art of seeing.

The materials include: oil paint, cold wax, metallic enamel.

Wheat Field, painting on canvas 100 x 120 cm
Wheat Field 100 x 120 cm

I am currently working on this relatively large painting in my studio. It is based on the extensive fields of barley, maize and wheat surrounding the small city of Ely here in the heart of the Cambridgeshire Fenlands. I have tried to show the intensity of the warm golden colours we experience at this time of year and also achieve a lustrous paint surface. You will note that this work has little connection with photographic reproduction but is more concerned with the exuberance of growth, the fecundity and entanglement found in nature. The materials I work with are unconventional but offer the potential for inspirational outcomes if unexpected and unpredictable. The role of chance in a painting like this is critical and I am constantly alert to the interplay of line, tone and texture, that in my view, create the warp and weft of a successful image.

Wheat Field (Detail)

The materials include oil paint, plaster, bitumen, metallic enamel, cold wax, pumice stone.

This is a large painting on stretched canvas (100 x 120 cm) using readily sourced materials; these include bitumen, plaster, wax, oil, bleach and enamel paint. The landscape of the fens is a difficult subject to represent with any degree of fidelity. It certainly fails in terms of accepted notions of pastoral beauty. Being primarily flat, agricultural and man made, this landscape exists without obvious grandeur and distinguishing features. Endless dykes and artificial waterways inscribe, demarcate and score the surface. Visiting the same locations throughout the year there is a sense of intermittent yet cyclical activity; the earth is repeatedly gouged, scoured, exploited, exhausted, replaced and renewed. This painting is an attempt to reflect those processes over time.

Detail
Peter Corr Abstract painting landscape
Detail