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?”
This is a cold wax mixed media painting on a high quality canvas frame. It is based on my recent artist residency in the New Forest in Hampshire. I spent a number of days walking amongst the trees and gathering information for a series of paintings through drawing and photography; I wanted to absorb the sights and sounds of the trees in the forest and find 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.
The trees are coming into leaf Like something almost being said; The recent buds relax and spread, Their greenness is a kind of grief.
Is it that they are born again And we grow old? No, they die too, Their yearly trick of looking new Is written down in rings of grain.
Yet still the unresting castles thresh In fullgrown thickness every May. Last year is dead, they seem to say, Begin afresh, afresh, afresh.
This is a mixed-media landscape painting on a 100 x 75 cm deep edge canvas. 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, bitumen and iridescent metallic paint. I wanted to create a work that was almost tangible in terms of its physicality and weight, a painting that could be seen as a piece of sculpture or stoneware ceramic. The materials used are applied with a variety of tools including brushes, palette knives, assorted scrapers and cards. The surface impasto is witness to an extended process of accumulation and sedimentation, very much akin to the layering of earth over time. I have been influenced by the contemporary artists Anselm Kiefer and Gerhardt Richter.
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.