Wadsworth’s dynamic response to the debris left over from a Black Country steel-making process may well have been triggered by the powerful war-torn landscapes depicted by artists on the Western Front during the preceding four years.
LEEDS FINE ARTISTS
Artists’ News Archives
Inspired by Sir George Clausen RA’s painting Trees, I have explored the artist’s much quoted dictum that: “light is the most important person in a picture”.
Some years ago, interested in Caulfield’s work, I made a painting of 60s wallpaper.– a comment on some paintings being merely wallpaper.
I was at once attracted to “The Triple Alliance” because it was clearly a Collage using printed material and playing with random shapes: a process with which I am very familiar and besides, it is of a decent size and made an immediate impact.
Looking through the University’s on-line art collection I came across an entry for a print, “Bretton Hall” by Michael Anderson. This immediately caught my attention, as I had been a mature student at Bretton Hall College when “Andy” was head of the Art Department.
I was first made aware of the work of Alfred Wallis when I was a student at Leeds College of Art in the late 1950’s.
The challenge of dynamic drawing from music-led disciplines in studio and theatre locations has been a main interest of mine. Friends, other participators at shared dance classes, as well as professionals, have been models in my previous working drawings.
As an abstract landscape artist influenced by the 1950’s abstract expressionist work of Peter Lanyon, I chose the painting “Above and Below” by Trevor Bell who was involved with the St Ives School at the same time.
It was the title of the work in the University archives – “A Mountain Pool (also known as A Mountain Tarn)” by Alexander Cozens that originally caught my eye.
When the Look Again project was first broached I was working on a particular series of paintings as part of my performers-in-boxes theme.