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| Medium | Oil on Linen |
|---|---|
| Year | 2016 |
| Dimensions | 120 x 120 cm |
Red Edge
At the time of making this Wienerwald painting, I was searching for a colour to off set a particular composition and subject.
Here I found a red. I wanted more of the colour red in a painting. Or perhaps more of a non-natural industrial colour, from within the landscape.
With this red container/shed on the edge of the Wienerwald, in a private garden. I found more than just a colour.
I also found a very industrial shape, this set me off from the start.
The painting was made over two seasons. Within these two seasons the changes were so strong the painting had to change with these new ideas.
The two yew trees to the right and left of the composition thickened far more than I had expected.
The most significant change was the growth of the small tree directly in the middle of the painting.
Before I started the work I had also been attracted by the very strong vertical trunk in the middle of the composition dividing up the canvas, but the small tree that grew further to the front could not be ignored.
From this changing foreground, the whole painting took on a new dimension, the red and strong vertical in the middle, becoming secondary to how the painting can be read. At the same time remaining these factors [the red and the strong vertical] are off-set by everything else in the composition. Do you like my art? Then take a look at more of my artworks on my profile page.
Noel Paine studied at the City & Guilds of London Art School (Foundation, 1990-91); the University of Wales, Cardiff (BA, Art and Aesthetics, 1st Class Hons Painting, 1991-94); and the University of Kent, Canterbury (MA, Fine Art, 1996-98).
While studying, Noel travelled to the USA which proved to be an influential time for research and practical development in his early career. Upon returning to London in 1996, he began to work on paintings which would extend into the work he makes today. This focuses on scenes of the environment he inhabits, this has resulted in his ‘London East End’ series, and, since 2008, when he has been living and working in Italy and Austria, an ongoing series of works with historical and stylistic influences from Lazio and the landscape of the Austrian countryside.
