TAKING IN THE VIEW

The landscape genre can be allows the viewer a form of escapism. It draws in its audience through the engaging capture of settings and vistas, allowing them, in that moment, to forget their immediate surroundings, transporting them to somewhere other worldly and serene.  This article will explore the work of five landscape, and gallery represented artists who do exactly this. Their ability to replicate the moods of specific scenes through their canvases, allows the audience to engage,

KATE BENTLEY SWA

Working on panel, Kate Bentley’s landscape works have a direct relationship to the natural world. The recycled material that Bentley occasionally uses for her canvases, adds to the authenticity and meaning of her works. Bentley’s Faded Grandeur (39 x 33 cm) is an example of this. The dark setting of the painting covering most of the panel, leaves a central ray of light glowing onto the once grand entrance to the house. The abandoned state of the house has allowed nature to take full possession, interweaving between the cracks and crevices to form a whole new landscape and ecosystem.

Decay and Hope (50 x 60 cm) by Kate Bentley, shows the ultimate prevailing of nature against humanity where, similarly to Faded Grandeur, the moss and flora has overrun a once grand building, to create its own habitat. The title Decay and Hope, is suggestive of the decaying architecture yet, the sense of hope glimmers through the ever-expanding and newly legitimised ecosystem that has had opportunity to flourish with the retraction of human intervention. The trees in the background, and the forest-like quality of the surroundings, imply that habitats were uprooted and wildlife damaged when this building was constructed. Now, wildlife has managed to regain residency, showing the relentless capability of our planet.

  


    Faded Grandeur

  Decay and Hope

Sunny Sunday

Sunny Monday

Bentley’s Sunny Sunday and Sunny Monday (each 36 x 26 cm) changes mood and depicts a scene familiar to the everyday viewer.

The vibrancy of the colour palette is indicative of the weather season, with the washing line also being representative of this. Although small in scale, this work has the ability to mesmerise the viewer, allowing them to experience the summer air and warmth radiating from the sun above. It is enticing in its portrayal, leaving us eager to step into the canvas and experience all that is on show.  Painted during the long summer of 2020 and amidst the pandemic and lockdown, these works have optimism and hope.

     

Limehouse Wharf                                                                                                                          

MICK DEAN

Similarly, Mick Dean’s work also addresses the relationship forged between humankind and the natural world.

In earlier works such as Limehouse Wharf (122 x 91 cm), Dean has depicted human encroachment on nature, in this particular image; the shore, and natures attempt to regain that control. This is shown by the build up of moss on the wooden panels of the wharf’s infrastructure. Mick Dean’s use of solvents within his paintings causes a separation between the oil and the pigment, which re-establishes this sense of decay.

Moving towards a greater appreciation and representation of the natural world, Mick Dean’s latest landscapes show the fundamental beauty of British woodland areas. Painted with such intricacy works such as Birch, Beech and Pine (45 x 91 cm), are demonstrable of the wonder of the natural world. Whilst Dean has taken considerable effort to paint each layer and crevice of the bark, his lack of detailing on the leaves, allows these trees to become even more prominent on the canvas. The multi-layered texture of the Silver Birch depicted, adds rawness to the canvas, whilst the lack of border envelops the viewer, allowing them to envisage being positioned within the woodland represented

Beech Birch Pine

Similarly with The Void (50 x 75 cm), the perspective with which this has been depicted allows the viewer to assume a horizontal position on the ground, looking up towards the sky. The lighter patches of cloud are representative of the sun breaking through, making us dream of warmer sunnier days. When experiencing The Void in conjunction with another of Dean’s pieces such as, Pollarded Beech, Epping (50 x 75 cm), we are truly able to imagine and create our own romantic scenario. The brightness of the sun glistening upon the trees in Pollarded Beech allows us to imagine the heat emanating from them. The crisp leaves underfoot provide the haptics for the setting, whilst the sun suggests a humidity in the air, providing a warm dry smell. Dean’s ability to ignite our senses and invoke our subconscious, just by standing before a painting is overwhelming.

 The Void

Communications Saigon

CHRIS MYERS RI RBA

Having previously exhibited his celebrity portraiture, in this exhibition, watercolour artist Chris Myers turns his attention to cityscapes. The first of his works Communications Saigon depicts the busy nature of Ho Chi Minh city, Vietnam. True to the bustle of the city, people are gathered in large groups of traffic, coming from a variety of directions. The detailing incorporated by Myers is delicate and refined, even incorporating the most minute of motorbike detailing.

Captured with a fish-eye lens quality Myer’s Romance in Southwark pays tribute to an iconic area of London with the architecture of Southwark Cathedral and the bustling Borough Market, and in the foreground the couple embracing lends an air of rmance, heightened by the shining sun.

Combining his love of classic cars and depicting a unique collection moment from the Le Mans Classic race.

CHRISTINA JANSEN

During the initial lockdown period, photography artist Christina Jansen captured the sublime yet eerie London landmarks that were left untouched whilst the city shut down, and the public stayed home. Due to the tourist status of these landmarks including the National Gallery, and Piccadilly Circus, such areas are rarely seen without large groupings of people. The emptiness in the images that Jansen has captured, add to the absolute splendour of iconic London architecture.

Taken in mostly black and white, these images add a sense of authority and timelessness and document an unprecedented event in our country and indeed the world's history.

Bazaar

CHRISTINE TAHERIAN

Welsh artist Christine Taherian’s bright canvases pay homage to the many places she has frequented, and the feelings that have arisen from such visits. Having spent a considerable time living in Iran with her family, the inspiration taken from the vibrancy of Middle Eastern city scenes and culture can be seen to manifest itself within a number of her works. Taherian’s choice of mixed media, incorporating collage within Bazaar (82 x 67 cm) adds to the luxuriance of the work. The multi-textured canvas allows clear associations to be made by the viewer, where market stalls and peoples’ clothing are distinguishable from the general interior of the bazaar.

Although depicting a very different setting, a rather dreary London day, Down Town (66 x 66 cm) similarly incorporates flashes of bright collage to add detailing in which the viewer can imagine the feelings of the varying materials, to touch. The ruched elements of the pavement are representative of congregating puddles on a rainy day. Taherian’s careful choice of light exposure, in which reflections are formed on the pavements, is again suggestive of the weather. Such concise representations allow for the viewer to be fully submerged within the work, experiencing each sensory feeling as if they were physically there themselves.

      Down Town

Although these five artists have differed in their representations of cityscapes and landscapes, each has successfully managed to not only depict the scene with which they themselves have experienced, but also to capture and freeze the feelings and sensory experiences that have come with these settings. The carefully considered colour palettes by each artist speaks to the subconscious and ignites certain feelings from the viewer. Whilst recognition is paid to both manmade and natural landscapes, each artist tells of the incredible inspiration such places have had upon them, in which they hope to share the same experience with their audiences.