Jake Attree

All these works began life as drawing, even if they begin to move toward abstraction they will have begun as a drawn response to some empirical experience. I simply cannot make the painting work without that. Whilst, for me, the subject is no more than a pretext, it goes without saying that the subject must be paramount.

I would like the painting to be absolutely dependent upon its subject, whilst remaining completely independent of it. Painting is the thing that helps me understand my sense of the world in a way that is completely intuitive and yet still rational.

David Fulford

My current work has been informed by visits to Iceland and Alaska. The ice landscape is full of paradoxes: shrinking alarmingly yet beautiful, in motion yet apparently still.
When I'm painting I'm also interested in what the paint can do. My work evolves out of a sort of improvisational struggle until something arrives - a kind of recognition of authenticity.
Recent natural catastrophes and forecasts of further global warming have heightened our awareness of the Earth's fragility. My images draw upon these insecurities, alluding to 19th century ideas and symbols of the Romantic Sublime, which itself emerged from a similar anxiety and fear about Nature's power.

Richard Hatfield

The colours, scale and nature of the landscape provide a constant source for Richard Hatfield's image making. The paintings are the amalgamation of the remembered, the fleetingly observed and the emblematic motifs imprinted on the retina.

Richard's paintings are constructed using layer upon layer of thin coloured oil and acrylic and produce an intensity of pigment or create ambiguous veils of paint that vaguely describe the subject. Often painted over a coarse textured ground, layers of paint are added and subsequently removed generating a rich patination of surface.

Patti Lean

I collect material while walking and hiking, seeking a language of exploration for my interactions with the environment. I’m particularly interested in notions of northerliness, both real and imagined, working in the space between memory and desire. My work seeks parallels in the fields of eco-criticism and nature-writing, enquiring about ‘nature’, ‘culture’ and environmental concerns. I spent two residencies in Iceland, returning with sketchbooks, photographs, films and sound recordings, and am now back in the studio, working on a visual language for these experiences, using the rich possibilities and materiality of the medium of paint.

Rob Moore

Rob's paintings result from many years walking in and observing landscape and more recently concerns about the fragility of our planet. The images are
accumulative in the sense that they draw upon memory, experience, history, thought and observation. In addition to oil paintings rob makes original prints, drawings and mixed media works. His work on paper can be viewed at Watermark Gallery. www.watermark