'Gilded Shore' — Oil, Bitumen and Cold Wax on Canvas 'Gilded Shore' brings together three materials — oil paint, bitumen, and cold wax medium — in a painting that explores the edge between land and water. The shore is a threshold: a place of meeting and separation, where the solid and the fluid are in constant negotiation. The title's reference to gold suggests both the quality of light at certain times of day and the sense of value that attaches to these marginal, transition

'Stone and Water' — Cold Wax and Mixed Media on Canvas 'Stone and Water' brings together two of the most fundamental elements of landscape — the permanence of stone and the transience of water — and explores the relationship between them. Stone endures; water moves. Stone is fixed; water finds its own level. The painting attempts to hold both qualities simultaneously, in a surface that is both solid and fluid. Cold Wax and the Painted Surface The painting was made using cold

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...

This is a large acrylic painting on a 122 cm x 72 cm professional quality canvas. It is semi abstract in terms of technique and style. It...

'Till' — Mixed Media on Canvas The word 'till' carries multiple meanings that are relevant to this painting: the tilling of soil, the preparation of ground for planting; the geological term for the unsorted sediment deposited by glaciers; and the more colloquial sense of a drawer or container. All of these meanings resonate with the painting's subject — the worked, layered surface of the Fenland landscape, and the way that surface holds the evidence of its own history. Mixed

Interviewer Frankie Lowe of Cambridge TV discussing the new exhibition ‘Cambridge Envisaged’ with Peter Corr at the Michaelhouse Centre...

'Mercurial' — Acrylic on Canvas, Cambridge Envisaged Series 'Mercurial' takes its title from the quality of changeability — the way a surface or a mood can shift rapidly and unpredictably. In the context of the Cambridge Envisaged series, it refers to the city's capacity to present different faces to different observers: ancient and modern, formal and informal, fixed and in constant flux. Acrylic and the Cambridge Series The painting was made in acrylic on canvas, a medium th

The inspiration for this series is the city of Cambridge. As a photographer, I must have walked down every street and alley a thousand...

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...

'Republican Voices' — Mixed Media on Canvas, Cambridge Envisaged Series 'Republican Voices' is one of the more politically inflected works in the Cambridge Envisaged series. The title refers to the tradition of dissent and independent thought that has always existed alongside Cambridge's more conservative institutional structures — the voices that have challenged orthodoxy, questioned authority, and insisted on the primacy of reason over tradition. The Painting The work was m

'Hierarchy' — Mixed Media Acrylic on Canvas, Cambridge Envisaged Series 'Hierarchy' continues the Cambridge Envisaged series, exploring the layered social and architectural structures that define the city. The title refers both to the formal hierarchies of Cambridge's institutional life — the ordering of colleges, faculties, and traditions — and to the visual hierarchies of the painting itself: the way certain elements dominate the composition while others recede. Process and

'Citadel' — Acrylic on Canvas, Cambridge Series 'Citadel' is part of the Cambridge Envisaged series — a body of work that responds to the architecture, history, and atmosphere of Cambridge. The title refers to the sense of enclosure and authority that the city's older buildings project: the colleges, the chapels, the libraries, all of which present a face to the world that is simultaneously welcoming and forbidding. The Cambridge Series The Cambridge Envisaged series was deve

This acrylic painting measures 80 x 80 cm and is created on canvas. It is inspired by the landscape of the Great Fen, which is believed to have once been covered by Whittlesea Mere. I have been experimenting with various acrylic mediums and application techniques to create illusions of depth with just a hint of topographical details. The apparent speed of execution is misleading; there are likely three or four paintings beneath the decayed vegetation and peat bogs of earlier