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...

‘Devil’s Dyke’ Acrylic on Canvas 100 x 130 x 4 cm Running along the top of Devil’s Dyke is a narrow causeway. At this time of year it is...

‘Westmoor’ 100 x 150 x 4cm ‘Westmoor’ (Detail) The Fens around Ely come to life with colour at this time of year. The intense yellow...

In painting, unconventional materials generate unexpected effects and unpredictable outcomes. They interact in ways that are difficult to anticipate and impossible to fully control — and that is precisely their value. The reassurance offered by conventional artists' materials can also be a constraint: knowing in advance what you will get tends to produce work that confirms rather than discovers. Deploying unfamiliar materials is a high-risk strategy, but it opens up new possi

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...

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

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 an acrylic painting on a 100 x 100 x 4 cm canvas. I based it on the landscape of Roswell Pits, an 8-hectare nature reserve near...

What do I mean by reverse archaeology? That archaeology may have something to offer painting is less complicated than you might imagine....

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