top of page
PeterCorr@hotmail.com
+44 (0)1353 610 280
Cambridgeshire, England


The Drama and Power of saturated Complementary Colour
As Winter relentlessly approaches I return to the world of fully saturated colour to reprise the warmth and light of the sun. Colour...
peter corr


Somersham Fen and the symbolism of colour
Somersham Fen 40 x 40 x 4 cm This painting based on Somersham Fen has been created using oil and cold wax medium on a canvas stretcher....
peter corr


Exhibition at The Locker Cafe in Cambridge
Just completed setting up the exhibition last night at the Locker Cafe. Many thanks to John, the owner of the Locker art cafe for his...
peter corr
'Landford, New Forest' — Cold Wax and Oil on Canvas
'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
peter corr


Cradle
‘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...
peter corr
'Gilded Shore' — Oil, Bitumen and Cold Wax on Canvas
'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
peter corr


Western Shore
This acrylic painting measures 80 x 80 cm and is created on canvas. It is inspired by the landscape of the Great Fen, which is believed to have once been covered by Whittlesea Mere. I have been experimenting with various acrylic mediums and application techniques to create illusions of depth with just a hint of topographical details. The apparent speed of execution is misleading; there are likely three or four paintings beneath the decayed vegetation and peat bogs of earlier
peter corr
bottom of page