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“I felt I was taking my life in my hands to paint in the shadowy depths of the Souk with mopeds and cycles passing inches away but I survived unscathed and completed this impression in one session of an hour and a half. I feel that I have captured some of the atmosphere of the place which seems to have changed little since the time of Laurence of Arabia.”
“This piece was inspired by the need to explore color and forms more subjectively and by the model I happen to encounter while she was vacationing in Aspen. On one of the modelling sessions, her friend accompanied her and I thought the additional person would make for a good composition. I began with an underpainting in acrylic and then with oil paint and a palette knife, I rendered the forms loosely with areas of abstract passages, being careful to keep emphasis on the overall design quality - a deliberate deviation from the "precise realism" I usually attempt.”
“An original abstract, seascape painting of Whiting Bay in winters light, Arran, Ayrshire, Scotland. This Arran painting was done from a winter trip to Arran; I was camping on the island and this is from memories and photographs of the perfect evening light over Whiting Bay looking towards The Holy Isle and Ayrshire coast. A dramatic mix of mediums were blended, layered and splattered over the canvas to produce a very atmospheric painting depicting the ever changing light and weather that constantly sweeps across Arran from the Atlantic. I love to combine different types of paint and medium, creating a unique style of painting full of vibrant colour and drama.”
“Inspired by the textures of nature and the undulations of water, the Framed Art Specimen collection will leave you feeling inquisitive, wanting to take a closer look. Layering techniques with mixed media surfaces make these pieces very tactile. For such a small area they are bold, filled with colour and iridescent - they pack a mini punch! There are several pieces in this colourful batch, using a white textured background layered with purples, blues, greens and a hint of yellow.”
“I had so much fun painting this! I used lots of different sized brushes and tons of thick paint which I just kept applying until I felt I was at least beginning to approximate the enthusiasm of nature when it makes a summer garden. As usual with my latest paintings, there is a path through the garden that leads somewhere; it is up to the viewer to decide where but it will be somewhere fantastic.”
“This painting marked the beginning of a transition in my aesthetic from dark color palettes and earth tones to primary colors. I love the level of detail in this piece. The veins and crevices seem never-ending and the burst of gold in the middle is unexpected. I especially appreciate that the Oak grain is visible underneath the textured paint layers. It feels like a pleasant surprise and is a great example of why I prefer to paint on wood.”
“When on a day-trek in the countryside around Udaipur in Rajastahn, India, we came upon a village where all the animals had been colourfully painted and decorated. We were told it was "The Day Of The Cow" - a Hindu tradition where they decorate their household animals.”
“A painting of the Musée D'Orsay, formerly a railway station, now an art gallery of 19/20th Century Art. Although it was winter when I was there, there was no snow; this I added in the studio. I chose a slightly more Impressionistic style which I thought would suit the subject matter and was painted in dabs of colour that relied on optical mixing for the painting to work.”
Barry Wilson trained at the Camberwell School of Art, graduating with a BA in Fine Art. He divides his time between the South Coast and London and his most recent work is inspired by the crumbling architecture and urban decay that punctuates the towns and cities of southern England. The extensive application of gold leaf in many of his canvases evokes the decaying glories of another era and gives an almost Byzantine richness to otherwise utilitarian concrete structures – effects which he underscores by distressing the surfaces of the paintings. Barry draws his inspiration from the architectural work of Frank Lloyd Wright and the sense of isolation found in the work of artists such as Jack Vettriano, Edward Hopper, and Gerhard Richter.
“Magnolias are sublimely architectural and delicate in their construction making them a pleasure to paint. Their blushing pink petals compliment the newly washed spring blue skies so beautifully. This work is offered in an antique effect lime washed frame - ready to hang!”
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