Overhanging and Redwood-blue diptych by Rebecca Tucker

Overhanging and Redwood-blue diptych by Rebecca Tucker [2021]

original

Acrylic on wooden panel

Image size: H:25 cm x W:25 cm

Complete Size of Unframed Work: H:25 cm x W:25 cm x D:0.5cm

Sold Unframed

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

Overhanging and Redwood-blue diptych Overall size cm : H50 x W50 Overhanging by Rebecca Tucker [2021] original Acrylic on wooden panel Image size: H:25 cm x W:25 cm Complete Size of Unframed Work: H:25 cm x W:25 cm x D:0.5cm Sold Unframed Please note that insitu images are purely an indication of how a piece may look A verdant view through trees, using line, negative space and colour to move the landscape towards abstraction. Redwood-blue by Rebecca Tucker [2021] original Acrylic on wooden panel Image size: H:25 cm x W:25 cm Complete Size of Unframed Work: H:25 cm x W:25 cm x D:0.5cm Sold Unframed Please note that insitu images are purely an indication of how a piece may look Inspired by redwood forests in California, this is a study of negative space, of the blue sky above the towering trees. "I love the idea of suggesting a landscape to a viewer and then essentially playing with that perception by drawing them in to also see the pure beauty of paint on the surface." Working primarily with water-based materials allows the use of water itself as part of the process, painting layers and then fully or partially washing them away, taking advantage of the ‘happy accidents’ that occur, bringing an element of experimentation into the painting.

Rebecca Tucker, b. 1973, lives in Greater London and owns an Interior Design company in Wimbledon. She is a Lancashire born/London based painter, with a BA in Fine Art from Reading University in 1996. Her works are the result of a visual ‘discussion’ between abstract and more representational methods of depicting landscapes. Rebecca is keen to play with the viewers perception of subject and space in her paintings and then pull that preconceived idea back to the appreciation of what are essentially abstract marks on a two dimensional surface. Recent notable successes include selection for the 2021 ING Discerning Eye exhibition and being longlisted in the 2021 Ruth Borchard Self Portrait Prize. Rebecca says : “Abstraction has always been a fundamental part of my practice. The subject gives way to the pure joy of paint and marks on a surface. The reading of that painting is then in the eye of the beholder. “The perception of the viewer is essential to the concept of the paintings, they may ‘see’ a recognizable landscape, or relate to a painting on some level involved with their own memories, but I want to take them past that, to see the paint, react emotionally to the actual painting, not just to the perceived subject of the piece. “Working primarily with water-based materials allows the use of water itself as part of the process, painting layers and then fully or partially washing them away, taking advantage of the ‘happy accidents’ that occur, bringing an element of experimentation into every painting. I enjoy the use of adding a graphic line to create silhouettes, redacting negative space, playing with foreground/background, or focusing so closely on something that it becomes essentially abstract.”