This work is inspired by the flat,expansive and mysterious landscape of the Cambridgeshire Fenland…a vast area of open skies and distant horizons, criss crossed by a lattice of artificial waterways…straight as an arrow.
I hope that viewers will be engaged by the layers of colour, texture and surface qualities of this cold wax painting and also that they will respond to the physicality of this work, the numerous marks, striations and incisions in the cold wax material. I hope too, they will enjoy the interaction of disparate surfaces and layers and the sense of time passing through the landscape and through the painting.
This painting reflects a diverse series of influences; from the ‘art povera’ movement, through minimalism, expressionism and colour field painting.
The additional photographs provide a clearer understanding of the translucency, subtlety and rich texture of the surface.
Detail from ‘The New Voyager’
Mixed Media painting on canvas:60 x 60 x 4cm
This is a mixed-media landscape painting on a 60cm x 60cm deep edge canvas. It is 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 word ’till’ is interchangeable with ‘until’ and I have tried to reflect both meanings in this piece. Working with the land is about understanding time and intervals of time, it is about rhythms of activity and inactivity, of waiting, of anticipating……until. It can also refer to a vault; a place to hold treasure.
The heavy texture of the painting combines gesso, sand, plaster, marble dust, bitumen and oil paint. The material and paint is applied with a variety of tools including brushes and palette knives. The surface is built up in layers and glazes over a period of time. I have been influenced by the contemporary artists Anselm Kiefer and Gerhardt Richter.
This is an acrylic painting measuring 80 x 80 cm on canvas. It is based on the landscape of the Great Fen, thought to have once been covered by Whittlesea Mere. I have been exploring various acrylic mediums and application methods to create illusions of depth with the merest suggestion (please excuse the pun) of topographical details. The apparent speed of execution is just that….an apparition. There are upwards of 3, possibly 4 paintings buried in the decayed vegetation and peat bogs of earlier compositions.
If you are searching for the site of the Mere today you should not be looking for low-lying areas, as you might expect, but rather for very slightly higher ground. The reason for this strange phenomenon can be found by thinking about what happened to the land when it was drained.
The Great Level of the Fens is the largest region of fen in eastern England: including the lower drainage basins of the River Nene and the Great Ouse, it covers about 500 sq miles. It is also known as the Bedford Level, after Francis Russell, 4th Earl of Bedford, who headed the so-called adventurers in the 17th-century drainage in this area; his son became the first governor of the Bedford Level Corporation. In the 17th century, the Great Level was divided into the North, Middle and South Levels for the purposes of administration and maintenance.
Please note that this painting uses iridescent paint and changes quite significantly depending on the angle of view. It is therefore quite difficult to convey the subtle shifts in tone, colour and luminance through the medium of photography.
This is a mixed-media landscape painting on a 60cm x 60cm deep edge canvas; it is semi abstract and minimalist in terms of technique and style. I have based the painting on my day to day experience of living in the determinedly understated Fenland landscape of East Cambridgeshire in England. The heavy texture of the painting combines gesso, sand, plaster and oil paint and is applied with a variety of tools and implements. The surface is built up in successive layers over a period of time….if you walked across it you would need to clean the mud off your shoes with a knife. You may detect the influence of the contemporary German artists Anselm Kiefer and Gerhardt Richter.
Western Mills, Unit 4
‘Mankind is not likely to salvage civilization unless he can evolve a system of good and evil which is independent of heaven and hell’.