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Golden Hour by Rebecca Tuckwer

£960.00

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Golden Hour by Rebecca Tuckwer [2021]

original

Acrylic on wooden panel

Image size: H:61 cm x W:61 cm

Complete Size of Unframed Work: H:61 cm x W:61 cm x D:2cm

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

"The study of negative space and how it implies depth and perspective has always interested me. I enjoy playing with the idea of foreground and background, and I love the idea of suggesting a subject, in this case a tree canopy, but then abstracting the subject and using the materials in such a way that the texture and details made by the paint, and the grain of the wood panel, are as important if not more so than the subject itself." Rebecca enjoys balancing on the fine line between abstraction and representation, to imply a landscape with paint rather than accurately visually recording it. Her landscapes are somehow subliminal. Somehow ‘other’. Somewhere not quite real. An idea or a memory of a landscape. She aims to create an emotionally charged atmosphere with colour and texture and line, working with paint for paint’s sake.

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.”

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