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Julia Brown

Title: Royd Moor, 2020

My current work explores spaces, landscapes and structures—man-made or organic, and the interplay of one against and within the other.
Inspired by a rainy day over Royd Moor, looking towards the south Pennines. I wanted to capture the weather-muted yet clashing colours of the distancing landscape and the grittiness of the stone walls.

The paintings evolve quickly from thin, layered washes of oil paint on primed canvas, allowing the pigments, solvent and gravity to help with the mixing process on the surface of the work. Making decisions about whether to intervene is key. I let passages of moving paint remain, or wipe other areas off with rags, angling the canvas so the runs move or halt—letting them do their thing.
As these layers start to settle and dry, I go in with more intense paint, dribble pure solvent over them to break up a mass, or ‘draw’ lines to create angular contrast with the more organic flow of the washed areas.
I want the shapes I describe to be something both intangible yet instantly recognisable—solid objects, the space in between them, or an atmosphere created by light, shade and colour.


Original Status: Available
Print Status: Not available
Kind: Painting
Size: 45cm x 45cm x 0.4cm
Style: Abstract, Contemporary, Landscape
Framed: yes
Media: Oil
Surface: Other

£795
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      Title: Royd Moor, 2020

      My current work explores spaces, landscapes and structures—man-made or organic, and the interplay of one against and within the other.
      Inspired by a rainy day over Royd Moor, looking towards the south Pennines. I wanted to capture the weather-muted yet clashing colours of the distancing landscape and the grittiness of the stone walls.

      The paintings evolve quickly from thin, layered washes of oil paint on primed canvas, allowing the pigments, solvent and gravity to help with the mixing process on the surface of the work. Making decisions about whether to intervene is key. I let passages of moving paint remain, or wipe other areas off with rags, angling the canvas so the runs move or halt—letting them do their thing.
      As these layers start to settle and dry, I go in with more intense paint, dribble pure solvent over them to break up a mass, or ‘draw’ lines to create angular contrast with the more organic flow of the washed areas.
      I want the shapes I describe to be something both intangible yet instantly recognisable—solid objects, the space in between them, or an atmosphere created by light, shade and colour.

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