Evanescent Terrain by Candy James

Evanescent Terrain by Candy James [2022]

original

Cotswold Natural Earth Pigments, Pure Pigments, Charcoal and Diamond Duston Canvas

Image size: H:100 cm x W:100 cm

Complete Size of Unframed Work: H:100 cm x W:100 cm x D:4cm

Sold Unframed

Please note that insitu images are purely an indication of how a piece may look

I am a contemporary abstract artist living and working in the West Oxfordshire Cotswolds, England. My distinctive personal style of abstract painting pays homage to the beauty of this area. I collect natural earth pigments from the Cotswold landscape from which I make my own paints for my current series of work. Passionate about the environment I am able to witness first-hand how important it is to preserve and protect it from over development and other human interference. My practice considers not only how our relationship with the natural environment is essential for our mental and physical wellbeing as humans but also for the survival of animal, insect and plant life. My art is widely exhibited, most recently at the nationally recognised Atkinson Gallery at Millfield School in Street, Somerset for which my piece 'Unstructured Landscape' was selected for the Millfield Open Show 2022. Candy James BA (Hons) Fine Art Evanescent Terrain is a large scale abstract painting on canvas with natural earth pigments, charcoal, limestone from the Cotswolds and diamond dust, measuring 100x100cm unframed. Painting signed on back.

‘A sense of place develops when we combine memories and experiences with it.’ Contemporary abstract artist Candy James is known for her large scale, textured, nature inspired paintings on canvas using natural earth pigments to depict the Cotswold landscape in abstract form. As an environmental artist she explores psychological narratives surrounding place identity and the interconnectedness of man, nature and art. ‘Walking in the Cotswold countryside, locating interesting natural earth pigments from soil, limestone, streams and rock I capture organic elements of the landscape drawing me closer to nature. The relationship between these activities and my thinking considers my exploration as a creative aesthetic practice. The subsequent process of cataloguing, crushing and refining the pigments to create my own paints is both primal and mesmerising, ancient yet contemporary. There is a complexity to the simple natural elements used in my paintings. Their many layers folding in the past, present and possible futures of our actions and an outcome that is minimalistic and abstract in nature.’