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.

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

In May 2022 I exhibited new paintings at the Hampstead Art Fair with Linton59. The setting — on the edge of Hampstead Heath — felt appropriate for work rooted in landscape. This post documents the paintings shown and the context of the exhibition.

'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

After several years of working with oil and cold wax, I have come to understand the medium less as a set of techniques and more as a set of conditions. This post reflects on what those conditions are, and how they have shaped the way I think about painting.

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

Damien Hirst used formaldehyde; he would have been better served by an eco-friendly peat bog. 'Between Worlds' abstract Fenland painting..

Oil and Cold ax painting of a forest 100 x 150 cm on canvas

'Days stretched calm and plain to the horizon, as though we rose out of peat and will dwindle in a rumour of fog' Words by Emma Danes. This painting belongs to a group of works I have called The Light Series. It is a personal reflection on landscape — the landscape that surrounds me, the fields and skies of the Cambridgeshire Fenlands. The painting carries no topographical information: no trees, mountain peaks, hedgerows, or river valleys to navigate. The only compass availab

'After Glow' 80 x 80 cm Acrylic on Canvas 'Afterglow' — The Light Series This painting belongs to The Light Series, a group of works concerned with the landscape of the Cambridgeshire Fenlands. It is a personal reflection on the open fields and skies of East Anglia, though the work carries no topographical information to act as a compass or guide. There are no landmarks, no trees or hedgerows, no features that would anchor the image to a specific place. The viewer is left wit

Creating art is a fundamental part of my identity and a way for me to express my emotions and thoughts. When I make images, I feel like I’m connecting with something deeper. This process feels like a journey, where each brushstroke or pencil mark leads to new insights and understandings. Art helps me capture the complexities of life—its beauty, chaos, and mysteries. Each piece I create represents a specific moment, emotion, or idea that interests me. Making art isn't just abo

This painting, 'Archaeology of Thought', is made in oil and cold wax medium on a cradled wooden board. It belongs to a continuing body of work concerned with landscape, climate, and sensory experience translated into paint — work that asks what it means to record a place not through description but through accumulation. The title is deliberate. Archaeology implies excavation: the careful removal of material to reveal what lies beneath. But it also implies the reverse — the sl

'One Hundred Years of Solitude' 150 x 100 cm Oil on Canvas

A landscape painting of Thetford Forest in oil and cold wax medium

A Minimalist abstract painting based on water and clouds

This multi-layered mixed media oil painting represents a development of my New Forest series and continues my engagement with nature and land. The surface consists of multiple layers of oil and cold wax, with a marked impasto and strong textural qualities. The gold enamel has a soft patina and mirrors elements of the colour and tone of the immediate environment. Gold has been applied selectively to some of the vertical forms, providing intense points of reflective light again

I have arrived at an interpretation of the Fenlands through working with materials and actually living here and experiencing the...

A landscape painting of the Cambridgeshire Fenlands by the artist Peter Corr

Surface texture is one of the most distinctive qualities of my landscape paintings — a quality that is both visual and physical, and that is central to the way the work is experienced. The texture is not applied as a decorative element; it is the result of the painting process itself, the accumulated evidence of the decisions and revisions that went into making the work. Building the Surface The surface of a painting in oil and cold wax is built up through successive layers o