This highly textured painting on a solid oak block has just been sold to a collector in Scotland. Oak has a very dense grain and provides a resilient surface for the cold wax process. A variety of tools can be used with confidence to create a range of natural textures and fine surface markings. Multiple layers of wax have been used to generate the illusion of depth and translucency.
I have just been working on a commission based on one of my recent New Forest paintings. It has taken over two months from start to completion and I am genuinely pleased with final outcome. For those of you who have worked on a commission before you will know that they can sometimes be problematic. I think it is extremely important to be clear about the nature of the painting process and to communicate this through discussion with the other party.
Each painting is inevitably unique and few artists would be able to recreate an existing painting or exact copy unless the style owed more to photographic realism and/or geometric precision. You will see from the close up details that this painting has been developed through the application of successive layers of oil paint and cold wax medium. The raised surface and tactile nature of the work embodies the textural qualities of the subject matter.
‘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.
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.
I am now the second Little Van Gogh artist to have been awarded this New Forest residency. Really looking forward to the opportunity!
‘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’.