The more I paint images of the forest, the more I see forests and trees as a cypher, a kind of encoding, a representation of something else. This painting of trees finally declared itself to me after a few weeks of alternately applying, layering and removing pigment.
This is painting as extrusion or excavation, not dissimilar to a sculptor releasing a figure embedded in a marble block or an archaeologist revealing an artefact by scraping and gouging. Somewhere on the spectrum between building and taking apart lies the hidden image, trapped in a time capsule, submerged like coral or lichen, obscured.
There is a constant search for patina, qualities of surface that without judgment and rigour can readily descend into pastiche and kitsch, the saccharine aesthetic of prettiness.
After a lifetime of painting, I have developed a set of strategies to rescue me from the aesthetic abyss, that moment when a painting is merely affectation and allure, a siren, calling me to the rocks. I endeavour to resist the easy seduction of colour and texture, the comfort of cliched compositions, and the security of illusionistic space.
The problem is, that I have to relearn this lesson with virtually all of my paintings, I guess this is the nature of painting, it is the incremental achievements that drive the artist forward, that keep you returning to the process of painting.
If you asked me to select one of the major obstacles to creating a successful painting, I would identify the concepts of control and dexterity. Now, this may seem perverse and definitely counterintuitive but bear with me for a while. Technique, skill, and control are considered key attributes in the context of painting, and to a certain extent, they are. However, if they become the sole arbiter of a painting's value and worth, the oxygen is removed from the painting, rendering it airless and suffocating.
The final result is often a kind of claustrophobic predictability. The more skilful you become, the more you remove the all-important element of chance; the Japanese have called this wabi-sabi, it derives from Buddhist philosophy and is about accepting the imperfections and transient nature of life. Finding ways to disrupt this overriding desire to control, contain and perfect will be the subject of my next blog post.
I hope to see you around the Cambridgeshire art galleries and UK exhibitions. If you can't wait until then, you can view my artwork online! If you find an artwork you love and want to know more about or make a purchase just contact us directly. All artworks are for sale and commissions are welcomed. I look forward to hearing from you to guide you through the process of buying art online from the UK to anywhere in the world. Another option is to come to one of the Affordable Art Fairs in England, my work can be seen in person at the affordable art fairs, so come back to find details on free tickets to future fairs too.
Upcoming Exhibitions and Art Fairs
I will be exhibiting abstract landscape artwork inspired by the Fenlands in Britain at future Affordable Art Fairs, sign up for the newsletter to keep up to date. I will be exhibiting with Linton 59 and Darryl Nantais Art Gallery is representing my artwork. I do hope you can be there and see my artwork up close.
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Art Buyers and Collectors: How To Buy an original Peter Corr artwork
If you take a look at my art gallery and would like to purchase an original oil painting, you can email my Art Representative, Karl, at The Darryl Nantais Gallery Ltd at firstname.lastname@example.org or get in contact via the contact form on his website https://linton59.co.uk/contact. Please add the name/title of the artwork in your message. It may have already sold, but if that is the case, don't worry, you can request a commissioned piece and get a painting you will love.
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Thank you for reading my contemporary art blog. Please take the opportunity to look at my collection of paintings in the online gallery. All of my paintings are original artworks on high-quality canvas frames. If you are interested in purchasing a specific painting, please get in touch to check current availability or to discuss a commission. Please contact me.
I am a UK based abstract landscape painter/artist with a range of compelling and popular original mixed media paintings available to buy. You can follow my artistic practices, latest artworks and painting techniques and news by reading my contemporary art blog.
If you have seen an artwork that you like, you can buy my art online and easily order a painting by contacting me directly using the contact form. Please add the name/title of the artwork in your message. It may have already sold, but if that is the case, don't worry, you can request a commissioned piece just and get a painting you will love.
I ship paintings worldwide, and they are professionally and securely packaged for National and International courier services. They are delivered to your home in a reinforced box within 3-5 days of your order. You can buy my art online and order a painting or request a commissioned piece by contacting me directly using the contact form.
Each artwork will arrive unframed with painted edges, ready for you to hang. If you wish to frame a painting, you can make a direct request at an extra cost or contact your local framing shop.
I am a British artist based in Ely, Cambridgeshire and my work is sought by collectors here in the UK and worldwide. I have exhibited recently at the Battersea Affordable Art Fair, The Babylon Gallery in Ely, The Art in East Anglia Gallery, in Bury St Edmunds, The Darryl Nantais Gallery in Linton, The Michael House Centre and The Locker cafe in Cambridge. I also have collections of my artwork in prestigious office settings in major towns and cities throughout the country.
I work in mixed media, oil, cold wax, acrylic, bitumen and on both medium and large-scale canvases. My techniques involve a range of techniques and processes including, drawing, painting, collage, printing and mixed media applications. My main subject matter is landscape and abstraction and many of my paintings are located somewhere between figurative and non-figurative approaches to image-making.