"River 2"

Acrylic and collage on panel

760mm x 760mm x 55mm #3079

£1200.00

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This painting is not framed but is 55mm deep and works well without a frame.

However, if you would like advice or ideas for framing I can discuss options with you. 

If you are interested in buying or knowing more about this painting please contact me by clicking  

Viewer's comment:

 "It’s a special painting. I like the physical and metaphorical aspects of the definition of flow. It’s on the cusp between the two, and negotiates that boundary in an unusual manner slipping between abstract and figurative without being hostage to either. The other thing that first came to mind was the ‘density' of the overall colour and form, which seems an odd thing to say of a painting about fluidity."

Details:

river 2 detail 1 copy.jpeg
river 2 detail 2 .jpeg
river 2 detail 3 .jpeg
riv 2 detail .jpeg

Artist's comment:

 

This painting is one of a pair, ‘River 1 and River 2’, both of which are 760mm x 760mm x 55mm and created using acrylic and collage on cradled panel.

 

In both of these paintings, I returned to a recurring theme in my work, the Cumbrian landscape - this time focussing on my experience in and around rivers.

 

I wanted to portray some of the physicality of the experience of being in a Cumbrian river by working at a large scale, where the relationship of the painting to the body is very immediate and where, for example, I am not using my wrists to make marks but rather my whole arm. Also, it is an experience that when I work on the painting, I am pretty much ‘in it’ as I make it. 

 

The immediacy of this way of working means that as well as the memory of the river-experience informing the work, it is also a state in which I am very much working in the present and responding with my whole body to events that happen along the way, during the process of making the painting itself. 

 

Sometimes a colour or a junction of shapes catches my attention and leads me down a route of its own. By swapping between the positions of standing back and of ‘diving in’ to work on the painting, it gradually develops as a to-ing and fro-ing between a state of control when conscious recall, reflection and adjustments of and to what I am doing are the guiding force, and a state of release as the process of painting absorbs me and intuitive mark-making takes over.