I have just been working on a commission based on one of my recent New Forest paintings. It has taken over two months from start to completion, and I am genuinely pleased with outcome. For those of you who have worked on a commission before you will know that they can sometimes be problematic. I think it is extremely important to be clear about the nature of the painting process and to communicate this through discussion with the other party. Each painting is inevitably un

‘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,...

‘Cradle’ 122 x 92 cm This is a large mixed media painting on a 122cm x 92cm professional quality canvas. It was produced from studies...

'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

If you are visiting Ely in Cambridgeshire do come along to the Old Fire Engine House to see an exhibition of recent paintings by myself,...

Saint Bartholomew (Matthew 10:3, Mark 3:18, Luke 6:14, Acts 1:13) never set foot in Milan but his statue has been the talk of the town...

I spent a number of days walking amongst the trees and gathering information for a series of paintings through drawing and photography; I...

New Forest Residency — First Week of Paintings The first week of the New Forest residency produced a group of paintings that were, in many ways, a departure from my usual practice. Working in an unfamiliar landscape, without the accumulated familiarity of the Fenlands, required a different kind of attention — a willingness to look without preconception, to respond to what was actually there rather than to what I expected to find. The New Forest Landscape The New Forest is a l

'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

The 2018 Little Van Gogh Artist Residency Announcement I am now the second Little Van Gogh artist to have been awarded this New Forest...

'Forest' — Mixed Media on Canvas The forest has been a recurring subject in my work for many years — not as a picturesque backdrop but as a presence: dense, layered, and resistant to easy reading. 'Forest' is one of a series of paintings that attempt to find a visual equivalent for the experience of being inside a woodland — surrounded by vertical forms, by shifting light, by the particular quality of silence that a forest interior produces. Process and Materials The painting

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...