The textural qualities of cold wax encourage extensive mark-making and the exploration of surface irregularities. Beeswax, as a natural material, inherently reflects elements of nature and the processes of change and transformation.

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.

I returned to the Edinburgh Art Fair in November 2023, showing a selection of forest paintings with Linton 59. Edinburgh is always a serious context for contemporary work — the audience is engaged and the standard of exhibiting galleries is high.

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

Fenland Landscape Photography Monochrome

Cold wax landscape painting techniques

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.

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

'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

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

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