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 April 2025 I showed a new group of paintings at Fresh Art Fair, Cheltenham Racecourse. The works were part of my continuing forest series — each one an attempt to hold the particular quality of light and structure that draws me back to woodland as a subject.

For centuries, the death of painting has been proclaimed. Since the invention of printing during the Han dynasty, artists have anxiously watched each new technological advancement. When the printing press emerged, artists had valid concerns, but they eventually leveraged mechanical reproduction to replicate their work and reach a broader audience. With photography's arrival, it became clear that the representation of reality could be handed over to an optical device capable o

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

Fenland Landscape Photography Monochrome

The surface of a cold wax painting is never passive. This post explores how I approach the building and reworking of a painted surface — the layering, the scraping back, the moments of decision — and what it means for a painting to feel alive rather than resolved.

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

'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

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

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

' The Archaeology of Thought' Oil and cold wax 60 x 60 cm

A Minimalist abstract painting based on water and clouds

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

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

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

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...