Fields, Rivers and Dreams — The Fenland Landscape from Above Seen from above, the Cambridgeshire Fenlands reveal a geometry that is invisible at ground level. The dykes and drains run in straight lines across the flat terrain, dividing the land into rectangles and parallelograms of varying colour and texture. The rivers wind between them, their curves a counterpoint to the rigidity of the drainage system. From the air, the Fens look like a vast, abstract painting — a composit

'Reflections in the New Forest' — Artist Residency Work 'Reflections in the New Forest' is one of a group of paintings made during my residency in the New Forest. The title refers both to the literal reflections of trees and sky in the forest pools and streams, and to the more general quality of reflection — of looking back, of seeing the landscape in relation to memory and experience — that the residency encouraged. The Residency The New Forest residency was a period of sust

Futurism, Movement and the Large-Scale Acrylic The Futurist painters of the early twentieth century were preoccupied with movement — with the representation of speed, energy, and the dynamism of modern life. Boccioni, Severini, and Balla developed a visual language for depicting objects in motion: the fragmentation of form, the multiplication of contours, the use of directional marks to suggest velocity. These ideas remain productive for painters working today, even in contex

Gestural Painting — Scale, Movement and the Large Acrylic Gestural painting is, at its most fundamental, a record of physical movement. The marks on the canvas are traces of the body in motion — the arm, the wrist, the hand — and the energy of that movement is preserved in the dried paint. Working at a large scale amplifies this quality: the whole body becomes involved in the act of painting, and the resulting marks carry a physical presence that smaller-scale work cannot ach

Acrylic on Paper 20 ” x 16″ The geometric forms in Paul Klee’s compositions have always fascinated me. There is a natural rhythm to his...

Capturing the vitality and richness of oil paint in acrylics is a challenge. Oil paints have a natural, organic quality that is generally...

A painting inspired by the warmth and vibrancy of the Sun. For me, the shapes and colours of this work on hand made paper reflect the...

As Winter relentlessly approaches I return to the world of fully saturated colour to reprise the warmth and light of the sun. Colour...

‘Elasticity’ Umberto Boccioini Museo del Novecento ‘Elasticity’ Umberto Boccioini Museo del Novecento It would be a minor miracle to...

The Versatility of Oil and Cold Wax — An Introduction to the Medium Oil and cold wax medium is one of the most versatile combinations available to the contemporary painter. The cold wax — a blend of beeswax, damar resin, and a small amount of solvent — modifies the oil paint in ways that open up a wide range of surface possibilities: it adds body, reduces drying time, increases transparency, and allows for the creation of textured effects that would be difficult or impossible

This is a large oil painting on a 122cm x 92cm professional quality canvas. It is semi abstract and expressionistic in terms of technique...

'Counterpoint' — A Painting Inspired by Music The title of this painting refers to the musical technique of counterpoint — the relationship between two or more melodic lines that are harmonically interdependent yet independent in rhythm and contour. It is a concept that has long interested me as a painter, because it describes something that painting can do: hold two or more visual elements in productive tension, each one modifying the other without either one dominating. Mus

‘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...

‘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....

'After the Rain' — Fenland Landscape in Oil and Cold Wax Rain transforms the Fenland landscape in ways that are difficult to anticipate and impossible to fully describe. The light changes — becomes softer, more diffuse, the sky heavier and more present. The fields, already low and flat, seem to sink further into the earth. Water appears in the dykes and drains with a new urgency, and the whole landscape takes on a quality of saturation that is both visual and atmospheric. The

'Landford, New Forest' — Cold Wax and Oil on Canvas This painting was made during my residency in the New Forest — a period of sustained engagement with a landscape quite different from the Fenlands of Cambridgeshire that have been my primary subject in recent years. The New Forest is dense, varied, and ancient; its light is filtered through canopy rather than arriving unimpeded across flat fields. Working there required a different kind of attention. The New Forest Residency

‘Residual Cross’ 60 x 60 cm This is one of a new series of paintings continuing and extending my interest in less conventional art...

‘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,...

'River City' — Mixed Media on Canvas 'River City' is a painting that responds to the experience of a city seen from the water — the particular perspective that a river offers on the urban landscape, with its combination of the ancient and the modern, the monumental and the domestic. The title is deliberately ambiguous: it could refer to any number of cities built on rivers, and this ambiguity is part of the painting's intention. Mixed Media and Urban Landscape The painting wa

'The River Great Ouse' — Mixed Media Landscape The River Great Ouse is one of the defining features of the Cambridgeshire Fenlands — a slow, wide river that winds through the flat landscape, its banks lined with willows and reeds, its surface reflecting the enormous sky above. It is a river that has shaped the landscape around it over centuries, and that continues to define the character of the towns and villages along its course. The Painting This mixed media landscape was m