Till

Mixed Media painting on canvas:60 x 60 x 4cm

untitled-77-of-126

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.

Western Shore

Western Shore

untitled (1 of 26)

 

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.

Shallowlands

Shallowlands

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.

 

Painting

Looking Glass World

Looking Glass World

“Life is infinitely stranger than anything which the mind of man could invent. We would not dare to conceive the things which are really merely commonplaces of existence. If we could fly out of that window hand in hand, hover over this great city, gently remove the roofs and peep in at the queer things which are going on, the strange coincidences, the planning, the cross-purposes, the wonderful chain of events, working through generations and leading to the most outer results, it would make all fiction with its conventionalities and foreseen conclusions most stale and unprofitable”.

Sir Arthur Conan Doyle

 

Looking Glass World