‘Landscape, Memory, and Place’ exhibition catalogue

I want to look and catalogue the work of the artists involved here, after reading the theory behind their work.

Maria Chevska 

Broad brushstrokes making sweeping statements.

Use of straight lines and angles to break up space and add dimension to an otherwise flat painting is an interesting idea. Perhaps one I could adapt for my work? It ties in with the work of Moira Dryer I was looking at – flat paintings, but adding lines could add the dimension it was lacking.

How to divide the canvas up is an important part of the composition. Perhaps for my work, instead of depicting one experience/ one moment/ one angle, I could divide the canvas up and depict multiples moments that add up to an experience. 

Fluid motions with the paint brush contrast the hard, angular lines. These contrasting features complement one another.


Andrew Mansfield 

Colour is noticeable in this work, colour combinations decided the mood of the piece.

Paintings sit between abstraction and description of landscape; experience abstracts an ‘accurate’ description. Flat blocks of colour given depth with abstract shapes that suggest distance.

Proportions and scale are not realistic, something dreamlike and imaginative about that. It suits her style; warping the landscape, moulding the landscape to his experiences.

Therese Oulton 

Cannot tell whether textures and colours are a description of something seen or an expression of a broader experience/sight.

Materials are a heavy focus of Oulton’s work. The painting states its materiality clearly to the viewer. Nature is taken as a physical, messy, descriptive subject, hence the work is physical, messy and descriptive.

Michael Porter 

Heavy atmosphere of mystery, shifting, growing, dying, renewing. Less material than some of the pervious artists with similar subjects. A delicate approach, with a sensitive feeling. Scale of subject is unclear; is a piece a macro view of a forest or a micro view of a much vaster landscape.



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