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

'Shallow Lands' 100 x 100 cm Mixed Media on C Paint can be applied with almost anything that will hold it. I rarely use brushes in my current work — not from any aversion to them, but because working with brushes alone tends to return me to a familiar repertoire of marks and painterly qualities that become predictable over time. The introduction of unconventional materials and tools has been both liberating and demanding, opening up surface possibilities that a brush simply c

'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

Borderlands. An abstract Landscape painting by Peter Corr. See his work at the Battersea Affordable Art Fair 21 - 24 October 21

Red embodies an emotional power like no other colour and the associations for each individual are almost limitless. The materials used in th

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

The life of a painter is, in large part, a sustained engagement with failure. Not failure in the sense of defeat, but failure in the sense of falling short of what one intended — of making something that is less than what one hoped for, and then returning to the studio to try again. This is not a discouraging observation; it is, I think, the condition that makes the work possible. If painting were easy, it would not be worth doing. The Aesthetic Journey The aesthetic journey

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

'Reflections in the New Forest' — Artist Residency Work 'Reflections in the New Forest' is one of a group of paintings made during my residency in the New Forest. The title refers both to the literal reflections of trees and sky in the forest pools and streams, and to the more general quality of reflection — of looking back, of seeing the landscape in relation to memory and experience — that the residency encouraged. The Residency The New Forest residency was a period of sust

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...