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

A close-up look at “Forest Ensemble,” where pale birch trunks and layered blues create a calm, rhythmic woodland atmosphere.

Peter Corr providing a guide to a joint exhibition of artwork with his daughter Louisa Corr at The Old Fire Engine House in Ely

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

The question of detail in painting is not technical — it is philosophical. This post reflects on how I approach the relationship between precision and openness in my work, using a painting of Eaves Wood in Lancashire as a starting point for thinking about what detail is actually for.

Using cold wax medium with oil paint to create a forest

This is the work currently in the studio. I have decided to produce a series of paintings based on the VolksPark in Berlin

Painting in front of an audience is a different kind of exposure. At Fresh Art Fair I demonstrated my approach to oil and cold wax — the layering, the resistance of the surface, the decisions made in real time. It is a useful discipline: the work has to speak without explanation.

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

This can't possibly be one of my paintings — or so you might think. Where is the impasto, the heavy texture and mark-making, the lively handling of paint that characterises my usual way of working? This was, in fact, my style some two decades ago. Whilst clearing a working space in my garage recently, I came across a large MDF board sandwiched between a couple of old doors and dismantled bunk beds. It was covered in dust and cobwebs, and I thought it might serve as a makeshif

This work represents something of a departure. It is a graphic rendering of a winter tree, with a pronounced emphasis on drawing and linear qualities — a shift from the more atmospheric landscape work that typically occupies my practice. The painting uses oil, cold wax, bitumen, pumice stone powder, and enamel on an 80 × 80 cm canvas. 'The Dream of a Golden Tree' Oil, Cold Wax, bitumen, pumice stone, enamel on 80 x 80 cm Canvas Materials and Process The general process is re

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

Creating art is a fundamental part of my identity and a way for me to express my emotions and thoughts. When I make images, I feel like I’m connecting with something deeper. This process feels like a journey, where each brushstroke or pencil mark leads to new insights and understandings. Art helps me capture the complexities of life—its beauty, chaos, and mysteries. Each piece I create represents a specific moment, emotion, or idea that interests me. Making art isn't just abo

This painting, 'Archaeology of Thought', is made in oil and cold wax medium on a cradled wooden board. It belongs to a continuing body of work concerned with landscape, climate, and sensory experience translated into paint — work that asks what it means to record a place not through description but through accumulation. The title is deliberate. Archaeology implies excavation: the careful removal of material to reveal what lies beneath. But it also implies the reverse — the sl

Creating a convincing sense of the third dimension in painting is one of the medium's enduring challenges. There are many ways to render depth and recession — through perspective, tonal gradation, atmospheric colour — but some painters have pursued a more direct solution: the physical projection of paint beyond the picture plane into actual space. Van Gogh, Willem de Kooning, Frank Auerbach, and Anselm Kiefer are all painters known for the palpable, tactile presence of their

A landscape painting of Thetford Forest in oil and cold wax medium

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