landscape to abstract

From the winter landscape paintings before Christmas – see 2019 – I’m now using these colours to interpret the valley and moorland landscapes in abstract shapes, lines and mark-making, overlaying and scraping through using cold wax medium alternating with oil-rich layers. So here is the result, the new abstract with the landscape I used as my starting point alongside. Related Images:

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last day of October

Enjoying autumn colours and gathering ideas and images for a new set of paintings on an afternoon walk today from the studio. The trees, hedgerows and the autumn colours: And now trees are shedding their leaves so I’m looking at the pattern of the branches against the grey sky: These images brought to mind a painting I did in 2017, and which I saw recently hanging in a lovely cottage not too far from here (it looked very pleasing). So here is that one: Related Images:

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autumn storm painting

I was attracted to using a different shape of canvas to help this composition, Autumn Storm – of trees along a hedgerow, of sky, with movement along the painting as we do when we walk in the open countryside or even travelling in a car and watching the passing scenes. So here in the painting which is 30cm x 120cm (12x48in), and showing four linking details. Click on each for a larger view and use the arrows below each image: Related Images:

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Frank Bowling

Why have I not heard of this artist? Or as Jonathan Jones wrote: why hasn’t 85-year-old Frank Bowling been honoured with lots of big museum shows before now?  Two of the large abstract canvases now on show at the Tate exhibition ) Frank Bowling moved to New York in 1966 and his great paintings of the early 70s are very much of the American expressionism of that time. Read more by Jonathan Jones (in the Guardian online )

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Patrick Heron at Tate St Ives

Seeing this wonderful collection of paintings at Tate St Ives by Patrick Heron with works at this large scale and alongside each other and from different periods, with one painting relating to another: intense colour, the pleasure of following a line across the canvas, the detail of a pattern, abstraction, looking from one shape/pattern to another around the canvas – this was an intense, exciting and joyful experience.     Here are the main ideas he persued:   Unity Heron strived for a balance across the canvas, the forms and colours interconnected by their position and their visual affect together, so that each area of colour/shape ” is as important within… Read More

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Per Kirkeby

Image: “Untitled”, 1999 Oil on canvas 78 3/4 x 118 1/8 inches 200 x 300 cm  © Per Kirkeby, Courtesy Galerie Michael Werner Märkisch Wilmersdorf, Cologne & New York Danish artists inspired by geology, whose oil paintings are notable for their organic palette. Having read his obituary this week I’ve looked at his work online – https://www.royalacademy.org.uk/art-artists/name/per-kirkeby-hon-ra and http://michaelwerner.com/artist/per-kirkeby/works I love the colours, the use of lines and scratches, sometimes abstract and other works are landscape, or possibly both within a single composition. He was a member of the New York based, international Fluxus group (Latin word Fluxus means flowing) which shared attitude rather than a movement, with experimental musicians and artists, somewhat revolutionary and anti-art.… Read More

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Notter Tor on Bodmin Moor

A morning walk on Bodmin Moor through woodlands to Notter Tor, the colours were beautiful – these will be on my palette for new paintings in the coming weeks: greys of granite and lichen, yellow-green of moss and crimson-pinks stonecrop, and of course the brilliant bluebells creating a carpet across the side of the tor and springing up amongst the boulders:             Related Images:

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