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

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

The transformative power of oil & Cold Wax medium

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

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 large-scale painting was developed over an extended period in the studio, its surface built up through successive layers of oil and cold wax medium. The title refers both to the colour — a deep, saturated green that dominates the composition — and to the sense of enclosure that the vertical forms of the trees create: a vault of branches and foliage that shelters and contains. Surface and Process The work was made using a variety of tools — palette knives, rollers, and pr

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

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.

Artists are often asked this question — it is typically the first and frequently the last. The conventional answer is that the hours spent directly on the painting might add up to a few days, weeks, or perhaps a month or two. The artist would then wisely note that, in reality, the piece in question represents the accumulated knowledge and experience of a lifetime. Both answers are true, and neither is complete. Painting of a Forest by Peter Corr 'The Lie of The Land' The Infl

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 more I paint images of the forest, the more I see trees as a cipher — a kind of encoding, a representation of something else. This painting finally declared itself to me after a few weeks of alternately applying, layering, and removing pigment. 'Natural Theatre' 120 x 100 x 4 cm Oil & Cold Wax on Canvas Painting as Excavation This is painting as extrusion or excavation — not unlike a sculptor releasing a figure embedded in a marble block, or an archaeologist revealing an

Cold wax is not simply a material — it is a way of working. This post describes what cold wax medium is, how it behaves in combination with oil paint, and why its particular qualities — resistance, translucency, the way it holds a mark — have made it central to my practice over many years.

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