Capturing the vitality and richness of oil paint in acrylics is a challenge. Oil paints have a natural, organic quality that is generally...

A painting inspired by the warmth and vibrancy of the Sun. For me, the shapes and colours of this work on hand made paper reflect the...

Saturated Colour and Abstraction — Acrylic on Canvas This group of paintings explores the expressive possibilities of saturated colour in an abstract context. Colour, in these works, is not descriptive — it does not refer to the colour of a specific landscape or object — but structural: it organises the composition, creates spatial relationships, and generates emotional resonance. Acrylic and Colour Acrylic paint is particularly well suited to the exploration of saturated col

As Winter relentlessly approaches I return to the world of fully saturated colour to reprise the warmth and light of the sun. Colour...

‘Elasticity’ Umberto Boccioini Museo del Novecento ‘Elasticity’ Umberto Boccioini Museo del Novecento It would be a minor miracle to...

The St. JA, Purveyors of Fine W They say that Dublin is the City of Literature and I have to agree. It may not be W.B, Yeats or Seamus...

The Versatility of Oil and Cold Wax — An Introduction to the Medium Oil and cold wax medium is one of the most versatile combinations available to the contemporary painter. The cold wax — a blend of beeswax, damar resin, and a small amount of solvent — modifies the oil paint in ways that open up a wide range of surface possibilities: it adds body, reduces drying time, increases transparency, and allows for the creation of textured effects that would be difficult or impossible

This is an acrylic painting on a 100 x 100 x 4 cm canvas. I based it on the landscape of Roswell Pits, an 8-hectare nature reserve near...

Breckland or the Brecks is a wild landscape of dark forests, open heathlands, sandy soils and iconic belts of pine trees that straddle...

What do I mean by reverse archaeology? That archaeology may have something to offer painting is less complicated than you might imagine....

This is a large oil painting on a 122cm x 92cm professional quality canvas. It is semi abstract and expressionistic in terms of technique...

'Submarine' — Painting the Submerged Fenland Landscape The title of this painting refers to the geological and historical reality of the Cambridgeshire Fenlands: a landscape that was, for most of its history, submerged beneath water. The Fens were drained over several centuries, beginning in earnest in the seventeenth century, and the land that was reclaimed from the sea and the marsh has been in a state of slow subsidence ever since. Much of the Fenland is now below sea leve

'Counterpoint' — A Painting Inspired by Music The title of this painting refers to the musical technique of counterpoint — the relationship between two or more melodic lines that are harmonically interdependent yet independent in rhythm and contour. It is a concept that has long interested me as a painter, because it describes something that painting can do: hold two or more visual elements in productive tension, each one modifying the other without either one dominating. Mus

‘Half Moon’ 60 x 60 x 4 cm on Canvas My painting ‘Half Moon’, currently on exhibition at the Babylon Gallery in Ely has just been...

Mixed Media — Oil, Cold Wax, Bitumen and the Experimental Surface The combination of oil paint, cold wax medium, and bitumen produces a surface of unusual depth and complexity. Each material contributes something distinct: the oil paint provides colour and body; the cold wax adds texture, reduces drying time, and gives the surface its characteristic matte quality; the bitumen introduces a quality of darkness and translucency that is difficult to achieve by other means. Togeth

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....

‘Neu Wald’ This highly textured painting on a solid oak block has just been sold to a collector in Scotland. Oak has a very dense grain...

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...

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,...