BE PREPARED TO SEE SOMETHING YOU RARELY SEE FROM A SINGLE PAINTER!
"There is no past or future in art." Picasso.
Impression of Roseberry. 1996. Oil on board. 37 X 48cm (14 X 19in).
A Cleveland Field of Poppies (Homage to Monet). 1996. Oil on board. 40 X 54cm (16 X 21in).
THIS WEBSITE IS PROBABLY ONE OF THE MOST INFORMATIVE ART WEBSITES YOU WILL VISIT.
- PRICES -
Prices of the original artworks (paintings and drawings) are not displayed due to the fluctuation between private prices and gallery prices. Customers are welcome to contact me for prices, AND, most of the pictures on this site are available as prints and I have been able to standardize their prices:
Framed and window mounted, none fade, signed limited edition, approx' A2 size print, £145.00
Unframed, window mounted, above size, £89.00
Framed and window mounted, none fade, signed limited edition, approx' A3 size print, £59.00
Unframed, window mounted, above size, £39.00
The Transporter Bridge and Roseberry Topping, and probably M'bro's Town Hall clock tower, are major symbols of Teesside. They are three of the long-standing icons amongst an array of other symbols. To people of what is currently called the "Tees Valley" (New Labour business name tag for what still remains properly and in the pure sense, Teesside) these landmarks might seem at times too obvious and too regularly overstated, but they are part of our souls. They, like the steel and chemical industries, seem to be deep in our psyche. Like it or not (and usually everyone REALLY loves it) they remain the principal visual instruments of promotion and identity.
It is said, both the Transporter and Roseberry get photographed and painted to death. That WILL be the case until the bridge gets pulled down and Roseberry crumbles to an un-photogenic mound...so, we have a long way to go yet.
Impression of Roseberry #2. 1996. Acrylic on paper. 20 X 16cm (8 X 6in) image size.
The above painting was actually painted in France whilst on camping holiday, and by doing this, the legacy of Impressionism is brought back to its country of origin to perform a new twist in the story of art... I had a small photograph of Roseberry Topping and I combined its distinctive profile image with the observed French landscape light around me, imagining it was there before me. It was made in a sketchpad with a small travelling box of paints while lunch was being prepared on the camp stove.