Based on a real scene in a field on Guldeford Level this heavily impasto work utilises oil paint like mud or clay. I carved this painting into existence rather than painting it.

Over a litre of Titanium White oil paint was dried on newspaper and then applied to the canvas in layers. Later layers were mixed with marble dust to provide texture. Charcoal and plant detritus were used to finish the scene and more marble dust was applied at the end to complete the effect. The result is that the change of light over a day will transform this artwork over and over. The shadows will pulse and shift and different parts will come to prominence as the day alters. It is one of my favourite pieces to-date.

The green band of water glowed in real life. The run off from the freshly ploughed field collected in the compacted tyre track and settled on top of the water like oil. The overcast sky made the landscape dreary but it accentuated the green-blue of the water.

This piece meditates upon the farmed landscape as an abused one. Pummelled and worked to death. Needing new fertiliser brought in to ensure new crops will sprout. It works, of course, but the impact of hundreds of acres of churned soil must surely be ruinous for biodiversity and for the climate when a natural carbon sink is stirred and allowed to vent. There is a better way but a century of industrial farming practise is hard to change.