north to south

My 2008 show was my first with Beside the Wave and in my then statement of intent I referred to my attempts to discover and emphasise the significant shapes which I believe underlie the superficial appearance of things seen, even though they may normally only be sensed subliminally.

I have no proof that the latter is empirical universal fact but for me it seemed to be so and does so still.

Of course recognition of shapes of tonal and colour areas is what every artist needs when painting objectively but it is before starting to draw or paint, when trying to decide where to start that certain views grab my attention in a way that is not primarily about literal content but is more a matter of response to a particular arrangement of abstract shapes of colour or juxtapositions of light and shade, in short, composition.

Composition gives content its force.

What has changed in this collection? Some new locations, Mevagissey, St Agnes, Porthtowan and others but also some returns to old favourites such as Porthleven and Bassets Cove where patterns never disappoint; and I never tire of foreshore reflections, light through clouds and contre jour.

It is pleasing to see in the UK just now how wide a range of styles and technique from hard (and soft) edged abstraction to infinitely detailed hyper-realism is accepted from serious artists. I suppose I would, if asked, position my present ‘comfort zone’ somewhere between the two, basically objective but with abstract undertones. It may change however, as I look harder and search further.

John Raynes 2010