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

In October 2024 I gave a presentation and live painting demonstration to the Isle of Ely Art Society. The event was held at the Methodist Church, Chapel Street, Ely, and focused on my working process with oil and cold wax medium. 'The First Temple' 130 x 100 x 4 cm on canvas The Demonstration The session centred on the layered approach that characterises my practice — the use of brayers, palette knives, and unconventional tools to build up and rework the painted surface. Cold

Gold enamel and cold wax medium

How to be creative with oil paint and cold wax. Using Jeff Becks guitar playing for inspiration

Fenland Landscape Photography Monochrome

Cold wax landscape painting techniques

Mike Tyson's remark has always struck me as unexpectedly apt for painting. You can plan a surface, intend a particular quality of light, work toward a specific resolution — and then the painting refuses. What happens next is where the real work begins.

I always return to the forest as a subject for painting. It is a source of limitless fascination and inspiration. I create these forest paintings primarily from memory. I do have photographs taken at various locations, but I rarely use them to complete a painting. They may offer a starting point, a way of seeing, or a particular quality of light — but ultimately a painting has to work on its own terms. Effective paintings have a convincing internal character and consistency.

'Fenland' — A Photography Book 'Fenland' is a photography book documenting the Cambridgeshire Fenland landscape — a body of work made over several years, with the majority of the photographs taken during the winter of 2020/21. The book brings together black and white images of the Fenland's characteristic topography: dykes and rivers, tilted telegraph poles, uneven roads disappearing into the distance, and the isolated farmhouses and farm buildings that punctuate the flat ter

This painting was seen in my ‘Cambridge Envisaged’ exhibition in autumn of 2016 in the centre of Cambridge University.

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 Minimalist abstract painting based on water and clouds

‘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...

Cambridge Open Studios, July 2021 In July 2021 I participated in Cambridge Open Studios — an annual event that opens artists' studios to the public across the Cambridge area. Open Studios is one of the most direct forms of engagement between artists and their audience: visitors come to the studio, see the work in the context in which it was made, and have the opportunity to talk with the artist about the process and the ideas behind the paintings. The Studio The studio is the

Fields, Rivers and Dreams — The Fenland Landscape from Above Seen from above, the Cambridgeshire Fenlands reveal a geometry that is invisible at ground level. The dykes and drains run in straight lines across the flat terrain, dividing the land into rectangles and parallelograms of varying colour and texture. The rivers wind between them, their curves a counterpoint to the rigidity of the drainage system. From the air, the Fens look like a vast, abstract painting — a composit

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

The Cambridgeshire Fenlands — Winter 2020/21 The winter of 2020/21 was, for many people, a period of enforced stillness — the lockdowns of the pandemic restricting movement and closing the usual routes of social and professional life. For me, it became an opportunity to engage more deeply with the landscape immediately around me: the Cambridgeshire Fenlands, which I had been photographing for some years but which I now had the time and the necessity to explore more systematic

Submerged — River Great Ouse at Earith Submerged agricultural land is a recurring feature of the Cambridgeshire Fenlands at this time of year, but the scale and incongruity of scenes like this one never cease to arrest the eye. This image was made near the village of Earith and records the impact of controlled flooding from the River Great Ouse — a managed process by which excess water is directed onto low-lying fields to protect settlements and infrastructure downstream. The

Ely Cathedral from the River Great Ouse Bram Stoker was inspired by Whitby Abbey to write the story of Count Dracula. Had he visited Ely...