View of the city from Waterloo Bridge, London (circular painting)
Painting, Oil on Wood
20.3 W x 20.3 H x 0.5 D cm
Illustrative framing suggestion only
Ships in a Box
This circular painting, 'View of the City From Waterloo Bridge,' employs a similar layering technique to my piece, 'Lonely House, Yorkshire Moors.' It is a rendition born from countless crossings of Waterloo Bridge, a focal point in my journeys where the cityscape was in perpetual flux. At any time of day, whether morning, noon, or evening and through all seasons, the bridge offered an ever-changing scene: the shifting clouds, the way rain would fall, or how sunlight could instantly transform the city skyline as it broke through.
These myriad moments – instances of fog, bright sunshine, and drifting clouds – became merged into a single, unified impression. Through the careful application of coloured varnishes, layered over the initial painting, I sought to evoke a specific mood, a particular vista held within the imagination. This was not about capturing a fleeting moment in time, but rather distilling the essence of all those experiences.
The process of repeatedly layering these glazes was integral to achieving the final effect, culminating in a poetic scene that, I hope, conveys a deeply felt sense of place rather than a literal, photographic representation. The aim was to capture an atmosphere that was built from memory and emotion, realised through the depth and translucency of the layered surface.
Painting, Oil on Wood
20.3 W x 20.3 H x 0.5 D cm
Illustrative framing suggestion only
Ships in a Box
This circular painting, 'View of the City From Waterloo Bridge,' employs a similar layering technique to my piece, 'Lonely House, Yorkshire Moors.' It is a rendition born from countless crossings of Waterloo Bridge, a focal point in my journeys where the cityscape was in perpetual flux. At any time of day, whether morning, noon, or evening and through all seasons, the bridge offered an ever-changing scene: the shifting clouds, the way rain would fall, or how sunlight could instantly transform the city skyline as it broke through.
These myriad moments – instances of fog, bright sunshine, and drifting clouds – became merged into a single, unified impression. Through the careful application of coloured varnishes, layered over the initial painting, I sought to evoke a specific mood, a particular vista held within the imagination. This was not about capturing a fleeting moment in time, but rather distilling the essence of all those experiences.
The process of repeatedly layering these glazes was integral to achieving the final effect, culminating in a poetic scene that, I hope, conveys a deeply felt sense of place rather than a literal, photographic representation. The aim was to capture an atmosphere that was built from memory and emotion, realised through the depth and translucency of the layered surface.
Painting, Oil on Wood
20.3 W x 20.3 H x 0.5 D cm
Illustrative framing suggestion only
Ships in a Box
This circular painting, 'View of the City From Waterloo Bridge,' employs a similar layering technique to my piece, 'Lonely House, Yorkshire Moors.' It is a rendition born from countless crossings of Waterloo Bridge, a focal point in my journeys where the cityscape was in perpetual flux. At any time of day, whether morning, noon, or evening and through all seasons, the bridge offered an ever-changing scene: the shifting clouds, the way rain would fall, or how sunlight could instantly transform the city skyline as it broke through.
These myriad moments – instances of fog, bright sunshine, and drifting clouds – became merged into a single, unified impression. Through the careful application of coloured varnishes, layered over the initial painting, I sought to evoke a specific mood, a particular vista held within the imagination. This was not about capturing a fleeting moment in time, but rather distilling the essence of all those experiences.
The process of repeatedly layering these glazes was integral to achieving the final effect, culminating in a poetic scene that, I hope, conveys a deeply felt sense of place rather than a literal, photographic representation. The aim was to capture an atmosphere that was built from memory and emotion, realised through the depth and translucency of the layered surface.