Capturing the vitality and richness of oil paint in acrylics is a challenge. Oil paints have a natural, organic quality that is generally absent from the synthetic neutrality of acrylic paints. The way to recreate the inherent liveliness and immediacy of oil is to make liberal use of different mediums and gels. In the final stages of a painting, I am still making compositional adjustments and decisions and I am prepared to carry out radical alterations if it isn’t working. An

Here is something a little out of the ordinary, definitely not my usual offering, but I thought I might share this with you. I created this video with my daughter, it was recorded two years ago on a handheld mobile phone; so all credit to her directorial and editing skills. I put down the audio track in the house because here in the Fenlands it is always windy and you wouldn’t have heard a single note. Did I hear someone say that would have been a wiser option? 🙂 For those w

‘Half Moon’ 60 x 60 x 4 cm on Canvas My painting ‘Half Moon’, currently on exhibition at the Babylon Gallery in Ely has just been bought by a collector. This is a highly textured mixed media painting using cold wax, oil, bitumen and a wide assortment of mark making tools. The exhibition is open until 6th September and I hope you will get a chance to visit if you are in the area. My daughter, Louisa also has a painting in the Summer Open exhibition called ‘Modern Times’. ‘Mode

Somersham Fen 40 x 40 x 4 cm This painting based on Somersham Fen has been created using oil and cold wax medium on a canvas stretcher. The intense yellow of rapeseed dominates the Fenlands at certain times of the year; it saturates the retina. For a painter, the task is to capture the overwhelming power of colour and yet also retain structure and form in the painting. The heavy impasto of cold wax helps to establish the solidity and sculptural qualities of the landscape near

‘Neu Wald’ 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. ‘Neu Wald’ (detail) #painting #gold #petercorr #buyartformyoffice #beautifulart #ge

‘Till’ by Peter Corr 60 x 60 cm The Fenlands are highly productive agricultural land and at this time of year, farmers can be seen ploughing and tilling the earth in readiness for the next year. The tilling blades comb the topsoil, mixing and aerating as they are dragged across the fields. I have used plaster, oil and cold wax medium, alternately scoring and layering the materials to recreate the furrowed surface. The late evening light at this time of year has a warm soft gl

‘The Three Realms’ by Peter Corr ‘The Three Realms’ by Peter Corr For me, a title is an important element in the creation of a painting. I know that many abstract painters use numerical systems to identify and classify their work. I prefer to title each image and through the invention of the title, try to enhance the life, associations and potential relevance of the work. In this instance, I really wanted a title that would express in a very direct way, the inspiration and th

‘After the Rain’ 80 x 80 cm on canvas by Peter Corr ‘After the Rain’  could be seen as a departure from the tonality and minimalist approach I have been using recently, but even so, this painting remains firmly in the realm of abstraction. The weather here in England is a a limitless topic of conversation for all of us and we have just experienced one of the hottest Summers on record. However, the wind and rain is never far away and this painting reflects my experience of cyc

‘The Kingdom of Mercia’ 80 x 80 cm by Peter Corr This painting is currently on show at The Old Fire Engine House in Ely, Cambridgshire, UK. The materials used include oil, cold wax, bitumen, pumice stone and plaster scrim. The title is essentially poetic and does not refer to a specific place or location; my recent landscape paintings are a reflection of my understanding and experience of the Fenland landscape of Cambridgeshire. I am interested in the evocative power of abstr

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 b

The 2018 Little Van Gogh Artist Residency Announcement 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 an

Eriswell This is a mixed-media landscape painting on a 103cm x 76cm 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 heavy texture of the painting combines gesso, sand, plaster and oil paint. The material and paint is applied with a variety of tools including brushes and palette knives with the surface is built up

#painting #painter #music #abstractart #cambridgeshire #clawhammer #banjo #ely #artist #video #artfinder #frailing #musician

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 interval

‘Land Fall’ is an idea, not a location. In Winter, when the ground is hard underfoot, the activity of man scores pathways and coordinates on the surface. There is little or no high land in Cambridgeshire, only a gentle rise and fall of the earth, almost subliminal, to be measured in micro centimetres. This painting is a rich, textured mixed media piece on a deep edge canvas; gold and metallic paints have been added to create areas of lustre and iridescence. I have attempted t

River City (provisional) ‘River City’ is just a holding name at the moment. I know approximately what I want to say, but haven’t quite found the combination of words that will shed some light on the painting. I know that for some artists, titles for paintings are not necessarily important; some artists even decide to number their work sequentially, particularly with abstract paintings. For me, a title can add certain qualities to an image, they often act as a bridge between t

This painting is part of my ‘Cambridge Envisaged’ series. It is a mixed media, abstract work based on the city of Cambridge in the United Kingdom. Cambridge is a world renowned  university city and the recurring motifs of Gothic arches and ancient doorways provide a visual rhythm, reflecting both the passing of time and continuity. The textures and patina of well worn stone respond to sight and touch. At this time of year, shafts of diffused golden light illuminate walkways,

This is a mixed media acrylic painting on canvas; one of a series of paintings to be shown at the Michaelhouse Centre in Cambridge at the ‘Cambridge Envisaged’ exhibition this November. I wanted to represent the city primarily through abstraction by  using archetypal shapes, colours and textures that reflect aspects of the buildings and townscape. The composition plays alternately with illusionistic perspective and a flat ‘map like’ design, never quite allowing the eye to set

‘Republican Voices’ Canvas Ssize: 100x100x2cm #Architecture #painting #petercorr #painter #abstract #cambridgeshire #fenland #Art #colour #LandscapePainting #texture #surrealism

‘Topographical’ Canvas size: 80x80x2cm You may have seen this exhibited in my ‘Cambridge Envisaged’ exhibition this autumn in the center of Cambridge University. #painter #abstract #oilpainting #Abstraction #Art #artist #coldwax