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Found wood, paper clay and wire
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Acrylic on paper
On the Edge has been an exciting brief to work to. I have produced a number of works which contain physical edges but some also verge on the edge of abstraction, allowing the medium to dictate the composition of the final piece. Many of the paintings have been produced through experimentation with media in a deliberate attempt to create effects different to my usual repertoire of mark making. I have used poured paints extensively in the red landscapes and Ammonites on Black series, allowing the compositions to develop from the random shapes that were formed through the application process. |
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Oil on canvas
On the Edge has been an exciting brief to work to. I have produced a number of works which contain physical edges but some also verge on the edge of abstraction, allowing the medium to dictate the composition of the final piece. Many of the paintings have been produced through experimentation with media in a deliberate attempt to create effects different to my usual repertoire of mark making. I have used poured paints extensively in the red landscapes and Ammonites on Black series, allowing the compositions to develop from the random shapes that were formed through the application process. |
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Acrylic on paper
On the Edge has been an exciting brief to work to. I have produced a number of works which contain physical edges but some also verge on the edge of abstraction, allowing the medium to dictate the composition of the final piece. Many of the paintings have been produced through experimentation with media in a deliberate attempt to create effects different to my usual repertoire of mark making. I have used poured paints extensively in the red landscapes and Ammonites on Black series, allowing the compositions to develop from the random shapes that were formed through the application process. |
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Mixed media on paper
On the Edge has been an exciting brief to work to. I have produced a number of works which contain physical edges but some also verge on the edge of abstraction, allowing the medium to dictate the composition of the final piece. Many of the paintings have been produced through experimentation with media in a deliberate attempt to create effects different to my usual repertoire of mark making. I have used poured paints extensively in the red landscapes and Ammonites on Black series, allowing the compositions to develop from the random shapes that were formed through the application process. |
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Mixed media on paper
On the Edge has been an exciting brief to work to. I have produced a number of works which contain physical edges but some also verge on the edge of abstraction, allowing the medium to dictate the composition of the final piece. Many of the paintings have been produced through experimentation with media in a deliberate attempt to create effects different to my usual repertoire of mark making. I have used poured paints extensively in the red landscapes and Ammonites on Black series, allowing the compositions to develop from the random shapes that were formed through the application process. |
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Charcoal & pastel on paper
My recent work centres around two interests: the image of the lonely beauty queen and images of contemporary young women. Women are being ‘viewed’ all the time: the beauty queens and the young women are seen up close as if they are caught out. They gaze, often at the viewer, with a look that is ‘on the edge’ - both tense and vulnerable. I mostly paint in oil and I also take black and white photographs. |
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Charcoal on paper
My recent work centres around two interests: the image of the lonely beauty queen and images of contemporary young women. Women are being ‘viewed’ all the time: the beauty queens and the young women are seen up close as if they are caught out. They gaze, often at the viewer, with a look that is ‘on the edge’ - both tense and vulnerable. I mostly paint in oil and I also take black and white photographs. |
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Oil on canvas
I am interested in the drive within human beings to express ideas through art. I see it as a powerful means of communicating a personal response to the world around us. My own work is a critical comment: an emotional reaction to places, events and feelings and/or the pure pleasure of the creative, tactile activity. Wild landscape, the sea and the human head hold a particular fascination and much of my work has been driven by these themes. The ‘Landscape with Rocks’ series of paintings are developed from memory and explore the relationship of objects through space, light and colour. |
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Oil on canvas
I am interested in the drive within human beings to express ideas through art. I see it as a powerful means of communicating a personal response to the world around us. My own work is a critical comment: an emotional reaction to places, events and feelings and/or the pure pleasure of the creative, tactile activity. Wild landscape, the sea and the human head hold a particular fascination and much of my work has been driven by these themes. The ‘Landscape with Rocks’ series of paintings are developed from memory and explore the relationship of objects through space, light and colour. |
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Oil on canvas
I am interested in the drive within human beings to express ideas through art. I see it as a powerful means of communicating a personal response to the world around us. My own work is a critical comment: an emotional reaction to places, events and feelings and/or the pure pleasure of the creative, tactile activity. Wild landscape, the sea and the human head hold a particular fascination and much of my work has been driven by these themes. The ‘Landscape with Rocks’ series of paintings are developed from memory and explore the relationship of objects through space, light and colour. |
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Oil on canvas
My recent work centres around two interests: the image of the lonely beauty queen and images of contemporary young women. Women are being ‘viewed’ all the time: the beauty queens and the young women are seen up close as if they are caught out. They gaze, often at the viewer, with a look that is ‘on the edge’ - both tense and vulnerable. I mostly paint in oil and I also take black and white photographs. |
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Oil on canvas
My recent work centres around two interests: the image of the lonely beauty queen and images of contemporary young women. Women are being ‘viewed’ all the time: the beauty queens and the young women are seen up close as if they are caught out. They gaze, often at the viewer, with a look that is ‘on the edge’ - both tense and vulnerable. I mostly paint in oil and I also take black and white photographs. |
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Charcoal on paper
My recent work centres around two interests: the image of the lonely beauty queen and images of contemporary young women. Women are being ‘viewed’ all the time: the beauty queens and the young women are seen up close as if they are caught out. They gaze, often at the viewer, with a look that is ‘on the edge’ - both tense and vulnerable. I mostly paint in oil and I also take black and white photographs. |
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Oil on canvas
On the Edge has been an exciting brief to work to. I have produced a number of works which contain physical edges but some also verge on the edge of abstraction, allowing the medium to dictate the composition of the final piece. Many of the paintings have been produced through experimentation with media in a deliberate attempt to create effects different to my usual repertoire of mark making. I have used poured paints extensively in the red landscapes and Ammonites on Black series, allowing the compositions to develop from the random shapes that were formed through the application process. |
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Oil on canvas
My objective is to interpret through confident marks and colour so that the original inspiration is only just recognizable in the painting, which is the complete antithesis of realism and photographs. |
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Oil on canvas
My objective is to interpret through confident marks and colour so that the original inspiration is only just recognizable in the painting, which is the complete antithesis of realism and photographs. |
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Oil on canvas
My intention as an artist is to demonstrate the relationship between abandoned deteriorating machinery and the growth of the natural world that inevitably surrounds it. The vehicles lay on the edge of being absorbed back into the earth from which they were originally mined. The intention of the work is to promote my passion for engineered objects. The subject matter might be misinterpreted as a statement of our throwaway society, portraying a negative view. This is not my intention, the use of colour and the desire to capture wonder, drama and romance makes the work celebrations of moments in ... |
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Oil on canvas
My intention as an artist is to demonstrate the relationship between abandoned deteriorating machinery and the growth of the natural world that inevitably surrounds it. The vehicles lay on the edge of being absorbed back into the earth from which they were originally mined. The intention of the work is to promote my passion for engineered objects. The subject matter might be misinterpreted as a statement of our throwaway society, portraying a negative view. This is not my intention, the use of colour and the desire to capture wonder, drama and romance makes the work celebrations of moments in ... |
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Oil on canvas
My intention as an artist is to demonstrate the relationship between abandoned deteriorating machinery and the growth of the natural world that inevitably surrounds it. The vehicles lay on the edge of being absorbed back into the earth from which they were originally mined. The intention of the work is to promote my passion for engineered objects. The subject matter might be misinterpreted as a statement of our throwaway society, portraying a negative view. This is not my intention, the use of colour and the desire to capture wonder, drama and romance makes the work celebrations of moments in ... |
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Charcoal and pencil on paper
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Whilst great care has been taken to try and realistically represent the artwork's colour hue,
contrast, etc. it is impossible to accurately reflect the physical work of art using a computer monitor / screen.
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