As a longtime musician, music has been crucial to my creativity. Recently, my focus shifted to painting, and over the past five years, I've deeply engaged in ambient music. What started as an alternative outlet has grown in importance. I've found many parallels between creating ambient music and painting, despite using different materials: paint and sound. 'A Slow Revolution' (Detail) This October, I will present my forest paintings with DNG Contemporary Art at the Affordable

An artist’s reflection on how rhythm, interval, and attention connect ambient music and forest painting—translating sound into structure, colour, and space

The textural qualities of cold wax encourage extensive mark-making and the exploration of surface irregularities. Beeswax, as a natural material, inherently reflects elements of nature and the processes of change and transformation.

Gold enamel and cold wax medium

I returned to the Edinburgh Art Fair in November 2023, showing a selection of forest paintings with Linton 59. Edinburgh is always a serious context for contemporary work — the audience is engaged and the standard of exhibiting galleries is high.

For over fifty years I have been painting — in different countries, across different phases of life, and through a succession of approaches that have each left their mark on the work I make now. Looking back across that span of time, what strikes me most is not the continuity of style but the continuity of preoccupation: a persistent interest in landscape, in the qualities of light and surface, and in the tension between what is seen and what is felt. Celebrating Nature's Ele

For centuries, the death of painting has been proclaimed. Since the invention of printing during the Han dynasty, artists have anxiously watched each new technological advancement. When the printing press emerged, artists had valid concerns, but they eventually leveraged mechanical reproduction to replicate their work and reach a broader audience. With photography's arrival, it became clear that the representation of reality could be handed over to an optical device capable o

Every painter knows the experience of stalled momentum — the studio that feels resistant, the canvas that offers nothing back. This post reflects on what that state actually is, and on the particular discipline of returning to work not when inspiration arrives, but before it does.

Cold wax landscape painting techniques

The surface of a cold wax painting is never passive. This post explores how I approach the building and reworking of a painted surface — the layering, the scraping back, the moments of decision — and what it means for a painting to feel alive rather than resolved.

I have been painting landscapes for over fifty years, working primarily in oil and cold wax. My practice is rooted in the Cambridgeshire landscape — its flatness, its particular quality of light, the way the horizon holds everything in a kind of suspension. This is a brief introduction to the work and the thinking behind it.

I always return to the forest as a subject for painting. It is a source of limitless fascination and inspiration. I create these forest paintings primarily from memory. I do have photographs taken at various locations, but I rarely use them to complete a painting. They may offer a starting point, a way of seeing, or a particular quality of light — but ultimately a painting has to work on its own terms. Effective paintings have a convincing internal character and consistency.

The Fenlands of Britain exist in an imaginary space — out of time and out of step with an increasingly homogenised and utilitarian world. They are made up of woodlands, wet grasslands, marsh, bogs, meadows, and shallow ponds, teeming with life. There is a constant visual interplay between grasses, reeds, and water; between bramble, branches, and sky. Slow-moving rivers, lodes, and streams are seen through a tracery of golden arches and erratic parabolas. A rhythmic dance of c

Damien Hirst used formaldehyde; he would have been better served by an eco-friendly peat bog. 'Between Worlds' abstract Fenland painting..

'Days stretched calm and plain to the horizon, as though we rose out of peat and will dwindle in a rumour of fog' Words by Emma Danes. This painting belongs to a group of works I have called The Light Series. It is a personal reflection on landscape — the landscape that surrounds me, the fields and skies of the Cambridgeshire Fenlands. The painting carries no topographical information: no trees, mountain peaks, hedgerows, or river valleys to navigate. The only compass availab

'After Glow' 80 x 80 cm Acrylic on Canvas 'Afterglow' — The Light Series This painting belongs to The Light Series, a group of works concerned with the landscape of the Cambridgeshire Fenlands. It is a personal reflection on the open fields and skies of East Anglia, though the work carries no topographical information to act as a compass or guide. There are no landmarks, no trees or hedgerows, no features that would anchor the image to a specific place. The viewer is left wit

' The Archaeology of Thought' Oil and cold wax 60 x 60 cm

Borderlands. An abstract Landscape painting by Peter Corr. See his work at the Battersea Affordable Art Fair 21 - 24 October 21

‘High White Fen’ 80 x 40 on Cradled Board (Detail ‘High White Fen’) Detail ‘ High White Fen’ If someone told you that a painting of a...

Cambridge Open Studios, July 2021 In July 2021 I participated in Cambridge Open Studios — an annual event that opens artists' studios to the public across the Cambridge area. Open Studios is one of the most direct forms of engagement between artists and their audience: visitors come to the studio, see the work in the context in which it was made, and have the opportunity to talk with the artist about the process and the ideas behind the paintings. The Studio The studio is the