Part 3 – Project 2 – Research Point

Sam Douglas (1976 – )

Part of the tradition of English visionary landscape (Samuel Palmer, Paul Nash, Graham Sutherland)

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All his work has a very strong sense of place but the time is less certain.   There is both a dream like quality to the work and a sense of time passing and ancient/older setting.

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“Whilst this is where his artistic process begins, it is only the starting point for the production of paintings which are much more to do with how he ‘feels’ about the natural environment and the emotional responses it stimulates than the physical topography that initially lies before him.” (http://www.jamesfreemangallery.com/artist/sam-douglas

Marguerite Horner (1954 – )

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‘The intrigue of her work depends partly on the knife-edge balance maintained between painterliness and hard-edge photo-realism by varying the sharpness of focus’. (contemporarybritishpainting.com)

Kirsty O’Leary (

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“Her practice explores both the physical and psychological geography of existence which she feels is complimented by her use of pencil with gesso where the subject matter of each drawing records the unfolding of an event. As much to do with reflection as with observation, her work represents the depiction of a fluid reality. (http://www.contemporarybritishpainting.com)

Judith Tucker (Dr)

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“My practice explores the meeting of social history, personal memory and landscapes; it investigates their relationship through drawing, painting and scholarly writing. The focus is to investigate how painting and ‘landscape’ might interrelate, how one can be the interface for the other, and what possibilities there are in the space that is created at this interface. I consider my re-presentations of ‘landscape’ in relation to Marianne Hirsch’s writing on postmemory, Karen Till‘s notions of spectral traces and Iain Biggs‘ work on deep mapping. (http://land2.leeds.ac.uk/people/tucker/)


I have previously mentioned John Virtue and also Paul Nash about who I will elaborate in my exhibition posting.


Conclusions

What I am now realising I am interested in is where does drawing stop and painting start.  The fact that many of the painters I have chosen work in restricted palette and almost in a photographic/realistic way  intrigues me BUT I love texture and mark.

I am also becoming more aware of how when successful artists manage to create a sense of time/place/memory and other ways to anchor the image in some way.

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