I spent last week on holiday in Ullapool, in north west of Scotland, where I found time to paint a number of landscapes, all acrylic on paper and all approximately 22×26 inches, apart from one which is approx 22×74. It seems the natural thing to today, when surrounded by the drama of the Scottish highlands and the ever changing weather, to try and capture it, however ineffectively, in paint.
During the week I was reading Painter as Critic, a selection of criticism by Patrick Heron. Written mostly during the 1950’s and 60’s, Heron was obsessed with the creation of a space within the picture plane that doesn’t rely on Renaissance drawing or perspective but instead uses colour, texture and new forms.
Heron seemed to reject the notion of purely abstract painting and Clement Greenberg’s obsession with the flatness of the picture plane, arguing instead that the painter or sculptor always draws their ideas, however tentatively, from the natural world.
In the Ullapool paintings I’ve used (as I’ve being doing in some recent still life’s) a fairly heavy black outline as a way to reduce and flatten the space in the picture, and isolate areas of worked colour. However as the week went on, influenced perhaps by Heron’s writing, some of that harsh delineation lifted, leaving the colours to react to each other directly.
When I got back to the studio in Newcastle, I spent a few hours working on a painting (again on paper) which I’d begun a few weeks previously. The painting was essentially figurative but using abstract forms and rhythms and vertical in shape. At the end of the morning however I looked at it sideways on and could see an (unconscious?) influence of the landscape painting in Ullapool.