Everyday Colour - Patrick Earle

An exhibition co-curated by Art for Guernsey & Patrick Earle

THE COLOURS

OF LIGHT ARE

INFINITE YET THEY

ALL COME FROM

THE SAME

SOURCE THE DALAI LAMA

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F O R E WA R D

An exhibition co-curated by Art for Guernsey & Patrick Earle

CONTENTS 6

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FOREWORD

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INTRODUCTION

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TAPESTRY

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Fiona Bateson introduces

Patrick takes us through the

Explore Patrick’s tapestries,

Patrick and his exploration of

process of creating his works,

traditionally made using

art and deepening of his work

the thought process and what

New Zealand wool and

over the last 20 years.

inspires him.

Chinese silk.

PAINTING

ARTEXPO

SUBSCRIBE

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118

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Let Patrick’s paintings engage

Find out about Patrick’s

Discover Patrick’s online

and inspire you, transforming

appearance at Artexpo

presence via his website,

the way you experience the

New York, the world’s

social media and NFT

world and its colours.

original art fair since 1978.

artwork sales.

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CONTENTS

MERE COLOURS

SPEAK TO THE

SOUL DIFFERENT WAYS IN A THOUSAND

OSCAR WILDE

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CONTENTS

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AS HIS

WORK OUTPUT HAS

INCREASED

& DEEPENED L I V I N G

W I T H

THE PURE JOY

OF HIS PAINTINGS

HAS ENHANCED OUR HOME, AND OUR LIVES,

BEYOND MEASURE. FIONA BATESON

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F O R E WA R D

Living with Patrick’s art has had a huge and growing impact on my way of seeing and experiencing the world. An aliveness, immediacy, vibrancy, subtlety, and range of colour leap out of his paintings. For me his art ‘deconstructs’ the world into powerful movements of energy.

I can then ‘reform’ this energy in different ways, in different moments.

Until we moved to Guernsey, all Patrick’s work was in oil. This

Being alongside Patrick on his exploration of art and deepening of

has paid off in many respects. He can now spend more time on the

his work over the last 20 years has been fascinating, and at times

creative element of his art works rather than the craft of mixing paint

frustrating! Initially, he couldn’t stop giving me monologues on the

(and all the cleaning up afterwards!).

continued in Guernsey until iPad applications began to be developed for digital art. He then began to experiment with Procreate. Most friends and colleagues thought that digital art was in some way inferior to ‘real’ art. Yet David Hockney’s Royal Academy exhibition of his iPhone-generated art began to change opinions. Now it’s well known that many artists, such as Tracey Emin and Grayson Perry, rely on digital creation as part of their working process.

Nonetheless, it took years of dedication for Patrick to get the organic feel from digital art that he could experience in oil. Yet the effort

different artists who fascinated him: Jenny Saville, Lucian Freud and Jackson Pollock, amongst many others. Then it was colours

As his work output increased and deepened, living with the pure

and tones. Then it was the very different approaches taken by each

joy of his paintings has enhanced our home, and our lives, beyond

of his tutors at Heatherley’s School of Art – which he agreed with

measure. Our son, living in Kenya, has also chosen to hang his

and why, which he didn’t and why, which inspired him and why. What

paintings all around his home. Patrick now has a following across the

was very clear was that from the beginning he was on his own path

world and is appearing in more and more exhibitions, from New York

– irrespective of those tutors who didn’t get his work and those who

to London. After such commitment, dedication, and determination

did. Increasingly, it was the colour and abstract quality of painters’

to get the impact he has been working towards for decades, it is a

work that really interested him. And he wanted to be free to paint

delight to see this exhibition of his work in his island home: Guernsey.

with his own voice – not constrained by others’ expectations.

I hope you enjoy his work as much as I and his family do.

This was when I became far more interested in his output.

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FOREWORD

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INTRODUCTION

In my painting, I focus on trying to get the sense of visual experience, rather than a particular image. The intensity of colour when you look at it, the structure of shapes in the natural world, the shifting nature of colour, reflection and movement. How everything changes when you move, when you walk around. The joy of the experience, of being, of the energy of the universe.

Colour I believe that there is much more colour in the world than we experience. I’m trying to get the intensity of what’s there, pull it out and present it in a way that people can experience, which may not be what they get in their day-to-day lives.

Van Gogh said that colour in painting is enthusiasm in life. I very much see colour as the driving energy and soul of life. Line is language, tone is form and space, but colour feeds the soul.

A portrait teacher once said to me that it was important not to look at skin colours too closely because we would think that the colour was more intense than it should be painted. But perhaps our usual experience of colour in the skin is less intense than it really is? I have come to believe that, in truth, colour intensity is much greater than we usually experience, and that it takes time and concentration to allow the full flowering of colour.

Autumn Fire

When we look at a photograph, we see the marks as one colour.

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61 x 91 cm / 24 X 36 in Print ink and acrylic paint on canvas

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COLOUR IN

PAINTING IS ENTHUSIASM

in LIFE VINCENT VAN GOGH

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ENERGY SURROUNDS

US AND BINDS.

LUMINOUS BEINGS WE ARE NOT THIS CRUDE

MATTER YODA

m 1122 // wwwwww..ppaattrr ii cc kkee aa rr ll ee .. cc oo m

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INTRODUCTION

But in real life, when you’re looking at a colour on a wood floor, it is multiple different colours. At the same time, your brain is just translating it as if it were one. As an example, a piece of blue sky casts blue light onto a wooden floor, and that piece of floor might look grey. If you tried to define what colour it was you’d say it was grey, but inside your eye you’re receiving both the orangey colour of the wood and the blue of the sky. And that provides a much more intense, engaging sensation. Some painters would paint that wood as a lighter orangey brown, some as grey and some as blue, depending on how they see it.

Nature In nature we tend to define colours in a simple way: the sea and the sky are blue, the leaves are green. But the more you look at them, especially at different times of day and in different lights, the more you see other colours in them. And you can represent paintings in different ways that explore those colours. The longer you look at colour in nature, the more you find to see.

The other thing that is constantly fascinating about nature is the shape of things. In the natural world you don’t get the solid, straight lines you do with manmade things, but you do get energetic support lines. So two branches of a tree will work together in similar directions. There is an organisation about how things fit together, and that’s something that I try to grasp the essence of in the way the marks in my paintings fit together.

You can deconstruct one of my paintings and say that there’s a grid pattern and that it’s all very structured, but it’s not structured in the way that a Mondrian is structured. It’s structured with that kind of supporting energy from one part to another that you get in the natural world, but not in the manufactured world.

My subject matter You can really look at anything that’s around you. Sometimes you sit in front of paintings for a long period of time trying to get out of them what’s there and be filled by them. But you can do it in almost any space.

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Ice Flow 61 x 91 cm / 24 x 36 in Print ink and acrylic paint on canvas

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Shortly before I went to art school, one of my studies was a painting of a whitewashed brick wall with a white painted radiator in front of it. The good thing about white is that shades of reflected colour are relatively easy to see, but a little bit more challenging to capture in painting because your mind’s always telling you that it’s white, but actually it’s not. That challenge is true with everything that we look at. Every wall is going to have lots of different, and changing, colours in it. For me, this opened up a whole different experience of looking at the world.

People often ask if a painting has a particular subject: ‘I was looking at your painting. Is it somebody dancing?’ I quite like that because there is something about abstraction, a sense of the marks having a potential to be something.

It might not be the potential to be something that I was thinking about while I was doing the painting, but if people are completing the painting in their experience with it that’s great, because they are engaging with it on their own terms. It’s a dialogue between themselves and the painting.

Some artworks have a solid meaning: they are intended to make a point about inequality, the environment, politics or all sorts of important things about the human condition. My point is that there is a lot more joy to be had. People tend to think of joy as having fun, but I see it as having the potential to be profound.

Rock Steps - Open

I’d like all of us to get a small touch of that.

61 x 61 cm / 24 x 24 in Print ink and acrylic paint on canvas

Painting digitally Having been an oil painter, there were several benefits of going to digital, apart from the fact that everything is going that way. It allows you to be much more

painting, which takes time and energy and splits the brain. There was my craft brain and then

focused on the creative side. It’s much easier to get the piece of colour that you

there was my creative brain, and digital allowed me to work more from the creative brain.

want, and the kind of brush that you want, as compared to working in oil paint.

There is something about the malleability of oil paint. The Auerbachs of the world work in very, very thick paint, and you kind of push the paint around to get the effects that you

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If you’ve worked in a studio with oil paint for any length of time, you will know

want. In the digital world you push marks around to get the effects that you want, but you do

that a large proportion of your time is spent preparing, cleaning up, mixing

not have the joy of the tactile experience. It took me years of working with digital to get to

colours and keeping the right level of cleanliness so that when you put the

working with organic marks that have a sense of the touch of the human hand, rather than

colour on the canvas it’s of a good consistency. There is a lot of craft to oil

having a typical digital feel.

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INTRODUCTION

My working process I work a lot in Procreate on an iPad. I like the flexibility of working on an iPad rather than on a computer, and Procreate has brushes within it that are very organic in feel. It is good at allowing you to shape and work into marks. It is like working, scraping back and working again in oil on canvas.

One of the downsides of working on an iPad is that it’s quite small and you can lose the sense of freedom and space that a large canvas affords. Otherwise, I work on it in a very similar way to an oil painting, so I’ll start off the bottom layer by picking a colour that’s suitable to cover the whole painting. It’s much more difficult to work colours into white than it is to work into a pre-existing colour.

And then I work in layers after that. I will start off by making some marks that begin to explore the structure and core colours of the composition - although they often will not survive! After the start, the constant question is: what is that next mark that can make the painting better?

From digital to physical You can achieve archival quality by printing on paper but you may have to adjust the colour and its intensity, which I do in Photoshop before I send paintings for printing. Each printer and paper will be slightly different, even with giclée printing.

If you just print to canvas, for me it’s a bit flat, there’s something missing. So I work into the paintings with acrylic paint after they’ve been printed, and then varnish them after that. This work with paint brings it back to life and gives a great result.

The tapestries came about through working with a company in the UK to realise the works. Even though the images are far from traditional, the process of making tapestry is very traditional. All of my tapestries are hand-knotted; they’ll have between, at the smallest end, 200,000 and, at the largest end, more

Treescape 102 x 152 cm / 40 x 60 in Print ink and acrylic paint on canvas

than a million knots, done by hand with New Zealand wool and Chinese silk. The craft that goes into the making of them is amazing.

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Artists I admire

and the way that the colours interact that is very similar between Rothko’s paintings

When I was a portrait painter I was inspired by Lucian Freud. He’s a huge name

and Monet’s paintings, which were many years earlier.

and some people have difficulty with his paintings, thinking that they are a bit ugly because there are all these different colours in the skin. But for me his

I consistently come back to Richard Diebenkorn, who was a West Coast American

work is beautiful because there is life there. There is the colour of the natural

abstract expressionist/colourist. He painted the shape of landscapes in an intense,

world being expressed fully.

colourful way. He also painted people. I love the use of strong colour as well as the way he organises paintings - ‘painted to the edge’. The whole of the painting is part of the

Claude Monet spent many years painting his pond. All of those paintings, and

construction of the image and is important. It is structured in a way which is not only

there are many of them, are all about different colours, different kinds of days

pleasing to the eye, but is also a reflection of nature. So there are strong verticals and

and different kinds of light being reflected in this pool of water and in the

horizontals, but also the flows and discontinuities of other things, and colours that go

plants around it. It is a tremendous body of work, and if you go to the Musée

into each other and intertwine. He is a painter I keep coming back to.

de l’Orangerie in Paris there are seven very large paintings that come from the pond. They are fantastically beautiful abstract paintings - the subject matter is

I very much enjoy Lee Kranser’s work. As Jackson Pollock’s wife, she may have been

completely irrelevant in them. Sitting in front of them and engaging with them

overshadowed by him during his life. But for me, her work is more full of life, organic

for a while, I realised that somebody like Rothko, who painted very different

organisation and the profound. Hans Hofmann was one of Lee Krasner’s teachers and

things, has a similar feel of the ineffable. There’s a feel about the use of colour

also a great painter in his own right. He painted a mixture of soft moving colours and quite solid blocks. One of the things that he talked about a lot was controlling the push and pull of colour blocks relative to each other. How do you work with the relationship between two colours so that they push and pull? Which one is in front, which one is behind? How do they link together and create vibration in a work because of the ambiguity of place?

Next steps I love looking at Renaissance paintings for the structure of the work, for the space in the work, for the intensity of the ideas behind it. But for me, they lack a visual impact.

Of course, that’s partly because of the quality and type of paints that were available at that time. But also the world has moved on, we are much freer now to be able to accept the challenges that intense colour gives us.

It excites me to think about taking a Renaissance painting that has something Weather 81 x 122 cm / 36 x 24 in Print ink and acrylic paint on canvas

underlying in it, and giving it a visual makeover that reflects the strength of the ideas contained in it. Taking it away from the ‘things’ within the painting and bringing the life that colour can. I’ve done one painting in that frame and I want to do a body of work with this approach.

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INTRODUCTION

COLOUR IS A

POWER THAT DIRECTLY INFLUENCES

THE SOUL WASSILY KANDINSKY

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The way that we see light and our inability to appreciate its full refinement leads us to simplify what we see as being of a single colour: the wall is white, the car is blue. But actually they are many different colours, and not even solid. Light does not penetrate things very well and so shows us a solid surface of objects.

Understanding how we see colour

The visible spectrum is visible precisely because it does not penetrate things well; both shorter and longer wavelengths of the electromagnetic spectrum

The retinal cells that register light are of two types. The cones are the ones that bring

(light) penetrate objects far more, for example x-rays. But the combined size of

the experience of colour and visual acuity, and they are 200 times denser in the small

the protons, neutrons and electrons within an object are a tiny fraction of the

part of the retina called the fovea. The fovea accounts for the centre of what we see and

apparent size of the object. The rest is empty space, a network of forces between

our ability to see clearly and in full colour, but this covers less than 5% of our visual field.

these subatomic elements. The total volume of neutrons, protons and electrons in

It is why, when we read, we have to move our eyes with the text rather than keep our eyes

a human body is slightly smaller than the smallest thing that we can see: a speck

in the same place and still be able to see the detail of the text on the rest of the page.

about 10 microns across, although weighing the full body weight of say 100kg.

Similarly, if you look directly at a colour, remember the intensity of the experience and look a little away from it, that colour seems much reduced in other parts of the visual

Today, we use hyperspectral photography that divides light into many more sub-

field. Just six degrees away from the centre, visual acuity is 75% reduced from the

colours and makes it easier to process the difference between colours that look

centre. How would it be if the whole of the visual field were as clear and intense as the

similar to us. This is used in medicine, especially surgery and cell diagnostics, in

centre part?

intelligence-gathering for identifying weapons, in agriculture, ecology and many other things.

The light that we can see, the visible spectrum, is only a small part of the electromagnetic spectrum (approximately 380-700 nm wavelengths). Many animals

It takes practice and imagination to try to understand the makeup of colours and

and insects can see parts of the spectrum that we cannot, for instance so that bees can

lights that we see. Through my art, I want to explore the profound joy and beauty

find nectar on flowers more easily. We tend to think that a colour is a colour, but outside

in the visual experience, engaging with the immediacy and liveliness of visual

the world of painting, photography and computing, most colours are made up of a wide

components before we evaluate and judge the meaning and content. Looking at

range of different light wavelengths. Even within the visible, we are often not very good

the whole visual field, we see more rhythm, and more colour shapes and mixes.

at distinguishing between colours. Our eyes divide light into red, green and blue for

Could there be even more than we can imagine? I like to think that it is a signpost

processing in our brain, but we are not very good at distinguishing between different

of the profound nature of our world.

red/pinks or greens.

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COLOUR IS THE

PLACE WHERE OUR BRAIN A N D T H E UNIVERSE

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TAPESTRY

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TA P E ST RY

SLIDE TAPESTRY 160 x 190 cm / 63 x 43 in New Zealand wool and Chinese silk This tapestry was inspired by some rock formations in Guernsey, the play of light across the facets in the rock, and the sense of motion inherent in them at the same time as their conventional sense of solidity. It is a hand-knotted tapestry in the Aubusson style, executed by Hines of Oxford. The tapestry has a hidden hanging system and comprises about 1.3 million knots.

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BEACH TAPESTRY 109 x 109 cm / 43 x 43 in New Zealand wool and Chinese silk Guernsey has beautiful beaches, which are seldom crowded.

Being a volcanic island, the sand is held by striking rock formations, their blues and oranges contrasting with the colours you typically see on the beach. It is a hand-knotted tapestry in the Aubusson style, executed by Hines of Oxford.

The tapestry has a hidden hanging system and comprises about 900,000 knots.

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FIELDS TAPESTRY 99 x 69 cm / 39 x 27 in New Zealand wool and Chinese silk Guernsey has traditional agriculture and horticulture, although that is being threatened by modern growing techniques. This tapestry is a celebration of traditional fields and the structures and stability they give to the landscape. It is a hand-knotted tapestry in the Aubusson style, executed by Hines of Oxford.

The tapestry has a hidden hanging system and comprises about 500,000 knots.

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WOODS TAPESTRY 69 x 69 cm / 27 x 27 in New Zealand wool and Chinese silk Although Guernsey lost many of its trees 70 years ago, there are still beautiful areas of trees that reflect the gentle naturalness of the island. This tapestry is based around the play of colours in one particular area of trees. It is hand-knotted in the Aubusson style and executed by Hines of Oxford. The tapestry has a hidden hanging system and comprises about 350,000 knots.

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SHADED POOL TAPESTRY 109 x 109 cm / 43 x 43 in New Zealand wool and Chinese silk This tapestry is based around an imaginary place, a pool under a cliff overhung by trees. The celebration is of the subtle and deep colours that pervade such an environment. This relates to the Monet paintings in L’Orangerie in Paris, which greatly inspire me. It is a hand-knotted tapestry in the Aubusson style, executed by Hines of Oxford. The tapestry has a hidden hanging system and comprises about 900,000 knots.

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WATER AND STONE TAPESTRY 160 x 160cm / 63 x 63 in New Zealand wool and Chinese silk This tapestry is based on looking at water running beside a stone wall, the lights and reflections off the surface contrasting with the depths. It relates to one of my greatest inspirations, which are the Monet paintings in L’Orangerie in Paris. It is a hand-knotted tapestry in the Aubusson style, executed by Hines of Oxford. The tapestry has a hidden hanging system and comprises about 2 million knots.

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ROCK STEPS TAPESTRY 130 x 130cm / 51 x 51 in New Zealand wool and Chinese silk This tapestry was inspired by some rock formations in Guernsey, the play of light across the facets in the rock, and the sense of motion inherent in them at the same time as their conventional sense of solidity. Guernsey has granite rock cliffs, especially around the south side of the island, that are weathered and have very interesting formations. It is a hand-knotted tapestry in the Aubusson style, executed by Hines of Oxford. The tapestry has a hidden hanging system and comprises about 1.3 million knots.

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WAVES ON ROCKS TAPESTRY 109 x 160cm / 43 x 63 in New Zealand wool and Chinese silk This tapestry was inspired by some rock formations in Guernsey, the play of light across the facets in the rock and their relationship with heavy seas. Guernsey has granite rock cliffs, especially around the south side of the island, that are weathered and have very interesting formations. It is a hand-knotted tapestry in the Aubusson style, executed

by Hines of Oxford. The tapestry has a hidden hanging system and comprises about 1.3 million knots.

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I’D LIKE TO PUT

ALL THE

COLOURS IN THE WORLD INTO ONE PAINTING WILLEM DE KOONING

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PAINTING

SLIDE 61 x 91cm / 24 x 36 in Mixed media: print ink and acrylic paint on canvas This painting was inspired by some rock formations in Guernsey, the play of light across the facets in the rock, and the sense of motion inherent in them at the same time as their conventional sense of solidity. The natural colours of Guernsey granite and shadows create space and movement that is all around us; looking at places like this is a great joy.

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TREESCAPE 102 x 152cm / 40 x 60 in Mixed media: print ink and acrylic paint on canvas This painting was inspired by the beautiful walk around the reservoir in Guernsey. Sunlight bounces through the branches of trees waving gently in the breeze. Colours and energy show the way to live and the way forward, approaching a different sense of reality.

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ROCKY STREAM 76 x 152 cm / 30 x 60 in Mixed media: print ink and acrylic paint on canvas This abstract work was inspired by the tumbling of water in a small stream at Moulin Huet in Guernsey. Colours reflect off the surface as well as richly contrasting with the depths of the water. Monet’s many paintings of his lily pond highlight the tension between the surface of water and its depths; how we see that is very individual, and by changing our mindset we can shift between one and the other.

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ROCKY STREAM - OPEN 102 x 152cm / 40 x 60 in Mixed media: print ink and acrylic paint on canvas This abstract work was inspired by the tumbling of water in a small stream at Moulin Huet in Guernsey. How we see that is very individual, and by changing our mindset we can shift between the surface and the depths. This particular painting explores and challenges the illusion of solidity.

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WILLOW MOUNTAIN 102 x 152cm / 40 x 60 in Mixed media: print ink and acrylic paint on canvas This abstract work is a modern take on traditional Chinese landscape painting. Colours contrast between the faraway mountain and the surface of a pond close by, as well as the branches of an overhanging willow tree. Chinese paintings embrace the ethereal nature of reality and its lack of true solidity. I am representing this by the energy of colour, passion and light.

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WALLED GARDEN 81 x 122 cm / 32 x 48 in Mixed media: print ink and acrylic paint on canvas This painting was inspired by the walled garden in Saumarez Park in Guernsey: the vibrancy of the colours from the flower and the flashing movement of the light as it plays on the wall climbers and nearby overhanging trees. Walled gardens are also interesting places; they are highly structured with lots of straight lines, but the main purpose is something organic, moving and flowing.

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NESTING 81 x 122 cm / 32 x 48 in Mixed media: print ink and acrylic paint on canvas This painting was inspired by the colourful wild flowers that I can see in spring from my studio: the vibrancy of the colours, shimmering and moving as the gentle breeze pushes them around. Bees and birds move between them, giving a sense of the transience of life.

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THE AGONY (AFTER MANTEGNA) 122 x 81 cm / 48 x 32 in Mixed media: print ink and acrylic paint on canvas This abstract painting is a reworking of The Agony in the Garden by Andrea Mantegna, and seeks to represent the energy of the painting and the experience of looking at it. The original was painted around 1460 and was inspired by a Bellini drawing. I love Renaissance paintings, they were enormously powerful in their time. Ordinary people only ever got to see still images in the church paintings depicting powerful scenes from the Bible - there is a detailed discussion about that original in my blog.

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THE AGONY OPEN (AFTER MANTEGNA)

122 x 81 cm / 48 x 32 in Mixed media: print ink and acrylic paint on canvas This abstract painting is a reworking of The Agony in the Garden

by Andrea Mantegna, and seeks to represent the energy of the painting and the experience of looking at it. This ‘open’ version highlights the illusion of the sense of solidity in the original image, indeed in all our perceptions. The original was painted around 1460 and was inspired by a Bellini drawing. I love Renaissance paintings, they were enormously powerful in their time. Ordinary people only ever got to see still images in the church paintings depicting powerful scenes from the Bible there is a detailed discussion about that original in my blog.

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WAVES ON ROCKS 121 x 81 cm / 48 x 32 in Mixed media: print ink and acrylic paint on canvas The south side of Guernsey has extensive granite cliffs, with some beaches and a lot of boulders around the bottom. This painting explores the energy and colours of waves from the sea coming to crash against the boulders at the bottom of Guernsey cliffs. It is a great joy just to watch, to sink into the rhythm of natural life.

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WAVE ON ROCKS - OPEN 122 x 81 cm / 48 x 32 in Mixed media: print ink and acrylic paint on canvas The south side of Guernsey has extensive granite cliffs, with some beaches and a lot of boulders around the bottom. This painting explores the energy and colours of waves from the sea coming to crash against the boulders at the bottom of Guernsey cliffs, whilst exploring the illusion of the solidity of the event. It is a great joy just to watch, to sink into the rhythm of natural life.

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BEACH 91 x 91 cm / 36 x 36 in Mixed media: print ink and acrylic paint on canvas Beach life is very much part of island life, not so much the traditional sunbathing of beach resorts, but walking, horse riding, sea swimming and all sorts of other water activities.

The colour contrasts between the sea, sand, rocks and vegetation shimmer in the light and breeze. In our minds we see these things but the colours are far more diverse and intense than we usually give them credit for.

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WATER AND STONE 91 x 91 cm / 36 x 36 in Mixed media: print ink and acrylic paint on canvas This explores the difference in solidity, colour and depth of water and stone. How to feel about water, its depths and surface as explored so deeply by Monet, and stone, apparently (but not really) so solid. Colour changes and shifts across the surface, ephemeral. A meditation in itself.

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STEPS AND SHADED POOL 91 x 91 cm / 36 x 36 in Mixed media: print ink and acrylic paint on canvas This is inspired by a place from my imagination, steps down a rock face to a pool at the bottom. Overhung by trees, with sunlight and shadows flicking across the surfaces, constantly changing as the day goes by. But a place to recharge.

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STEPS AND SHADED POOL - OPEN 91 x 91 cm / 36 x 36 in Mixed media: print ink and acrylic paint on canvas This is inspired by a place from my imagination, steps down a rock face to a pool at the bottom. Overhung by trees, with sunlight and shadows flicking across the surfaces, constantly changing as the day goes by. But a place to recharge in an energy flow, a place of vibrance but no solidity, fluid the essence of universal matter.

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ABAMA TRIPTYCH 244 x 122cm x 3 / 32 x 48 in x 3 Mixed media: print ink and acrylic paint on canvas Purchase this artwork as an NFT opensea.io/collection/everydaycolour

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This is inspired by a trip to Tenerife, staying close to a swimming pool, set near the sea and surrounded by verdant planting. A place to recharge in an energy flow, a place of vibrance but no solidity, fluid the essence of universal matter. Sitting in this kind of setting, it is easy to sense the energy of existence and the light and space that is here.

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AUTUMN FIRE 61 x 91 cm / 24 x 36 in Mixed media: print ink and acrylic paint on canvas This painting was inspired by the rhythm, light and movement of burning fallen leaves in the autumn. It is a moment of transience, the living and inspiring passing on in a final show of energy and light. Nothing is solid, light is constantly changing and moving. Everything is everywhere.

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HARD FACE 76 x 76 cm / 30 x 30 in Mixed media: print ink and acrylic paint on canvas The rock face seems solid, light; wind, water and my fingers bounce off with no penetration. It seems solid and unmoving, but actually it is fractured and merely a net of energy, a web of links but with no solidity, like us.

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ICE FLOW 61 x 91 cm / 24 x 36 in Mixed media: print ink and acrylic paint on canvas This painting was inspired by the rhythm, light and movement of the mountains, day and night, light and shade. With climate change we see the gradual extinction of glaciers. They need to be celebrated while we still have them. They seem solid and unmoving, but actually they are fractured and constantly in motion, like us.

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WILLOW 61 x 91 cm / 24 x 36 in Mixed media: print ink and acrylic paint on canvas This painting was inspired by an imaginary place, a tree overhanging water, the leaves and branches dancing in the breeze, the play of light through the threads, the sense of motion inherent in the lack of solidity. The natural colours of leaves and branches, sky and sun, light and shade. Inherently a likeness for the reality all around us, just being.

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WEATHER 91 x 61 cm / 36 x 24 in Mixed media: print ink and acrylic paint on canvas This painting was inspired by the view from my studio across the sea and the ever-changing weather of Guernsey. The focus of this painting is the play of fog, clouds and drizzle. The shifting colours, light and shade. Merely part of the universal game.

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CLIFF PATH 61 x 81 cm / 24 x 32 in Mixed media: print ink and acrylic paint on canvas The south and south-west sides of Guernsey have granite cliffs, with beaches and extensive paths that weave between bushes and trees, through natural and semi-wild landscapes.

Walking the paths is a joy, a connection to nature. But the paths themselves are visually interesting with lots of different colours from the rocks, water and play of light.

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FOREST AND CLIFF Purchase this artwork as an NFT opensea.io/collection/everydaycolour

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41 x 203 cm (2 of 41 x 101.5 cm) / 16 x 80 in (2 of 16 x 40 in) Mixed media: print ink and acrylic paint on canvas

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Forest and Cliff is an abstract diptych inspired by an entirely imaginary place, with inland cliffs, trees and bushes. Wild and natural, full of wildlife and birds. The paintings represent joy in a connection to nature.

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SWIRL 51 x 76 cm x 20 x 30 in Mixed media: print ink and acrylic paint on canvas This is an abstract exploration of more muted traditional colour, set against a small set of colourful accents. It is deliberately set up to be seen in multiple ways, as inspired by different things. It is an exploration of what we see, how we label things as constructed in our own minds.

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EVERYDAY COLOUR 76 x 51 cm / 30 x 20 in Mixed media: print ink and acrylic paint on canvas This is an abstract exploration of an imaginary place, set out in dramatic colours. What does colour really mean, how does it feel? How much colour do we choose to see? If we construct it in our minds, can we choose to enjoy more of what is here?

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INTO THE WOOD 51 x 76cm / 20 x 30 in Mixed media: print ink and acrylic paint on canvas I love the intense colours in Guernsey, walking into a copse near the reservoir, light and colour dancing around the tree trunks.

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ROCK STEPS 61 x 61 cm / 24 x 24 in Mixed media: print ink and acrylic paint on canvas Granite cliffs are part of the landscape near my home. We see them as solid, both physically and visually. But they are beautiful to just sit and look at, fractured, moving, dancing with light and colour.

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ROCK STEPS - OPEN 61 x 61 cm / 24 x 24 in Mixed media: print ink and acrylic paint on canvas Granite cliffs are part of the landscape near my home. We see them as solid, both physically and visually. But they are beautiful to just sit and look at, fractured, moving, dancing with light and colour. This open picture explores the rock as an illusion of physical solidity, a net of energy full of emptiness.

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CONTRAST 41 x 61 cm / 16 x 24 in Mixed media: print ink and acrylic paint on canvas This painting was inspired by the contrast between some sky, rock and seascape elements and the sense of motion inherent in them at the same time as their conventional sense of solidity. The apparent difference in fluidity and colour range, yet they are all of the same space and universal energy.

I marvel at the balanced yin and yang of these simultaneous differences and sameness.

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OPPOSITION 41 x 61 cm / 16 x 24 in Mixed media: print ink and acrylic paint on canvas This painting is one of a series of the elements of sky, rock and seascape. The sense of motion, difference in fluidity and colour range, yet they are all of the same space and universal energy. I marvel at the balanced yin and yang of these simultaneous differences and sameness.

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ROLLING 41 x 61 cm / 16 x 24 in Mixed media: print ink and acrylic paint on canvas This painting is one of a series of elements from sea and landscapes. The sense of motion, difference in fluidity and colour range, yet they are all of the same space and universal energy. I am intrigued by reconsidering traditional art forms from a modern perspective through my colour lens; this painting is influenced by traditional Chinese landscapes.

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WOOD 41 x 41 cm / 16 x 16 in Mixed media: archival ink and acrylic paint on canvas This piece is abstracted colours based on visual elements from walking around trees.

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INTO FIELDS 30 x 46 cm / 12 x 18 in Mixed media: archival ink and acrylic paint on canvas This piece is abstracted colours based on visual elements from the agricultural landscape around Guernsey. It is part of my investigation of how colour can be seen in the natural world.

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GARDEN WALL 30 x 46 cm / 12 x 18 in Mixed media: archival ink and acrylic paint on canvas Walled gardens are one of my fantasies: beautiful places, warm, colourful and enticing, full of colour, natural abundance and life. This painting is an exploration of some of those elements, expressing my feelings.

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STREAM 30 x 46 cm / 12 x 18 in Mixed media: archival ink and acrylic paint on canvas I love looking down on Guernsey when coming into the airport, seeing the structure of the island from above. In that sense it is very like Richard Diebenkorn paintings: the intense colours in landscapes, looking at fields, valleys and streams.

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TASTE SERIES The taste series are a collection of abstract paintings founded on visual elements of other paintings. The intention is to explore more closely the shape and interaction of marks.

It is important to me that all the marks I make are fully engaged, structured and considered so that they stand in their own right. They are a taste of colours, marks and structure.

TASTE 01

TASTE 02

30 x 30 cm / 12 x 12 in Mixed media: archival ink and acrylic paint on canvas

30 x 30 cm / 12 x 12 in Mixed media: archival ink and acrylic paint on canvas

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TASTE 03

TASTE 04

30 x 30 cm / 12 x 12 in Mixed media: archival ink and acrylic paint on canvas

30 x 30 cm / 12 x 12 in Mixed media: archival ink and acrylic paint on canvas

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TASTE 05

TASTE 06

30 x 30 cm / 12 x 12 in Mixed media: archival ink and acrylic paint on canvas

30 x 30 cm / 12 x 12 in Mixed media: archival ink and acrylic paint on canvas

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TASTE 07

TASTE 08

30 x 30 cm / 12 x 12 in Mixed media: archival ink and acrylic paint on canvas

30 x 30 cm / 12 x 12 in Mixed media: archival ink and acrylic paint on canvas

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TASTE 09

TASTE 10

30 x 30 cm / 12 x 12 in Mixed media: archival ink and acrylic paint on canvas

30 x 30 cm / 12 x 12 in Mixed media: archival ink and acrylic paint on canvas

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TASTE 11

TASTE 12

30 x 30 cm / 12 x 12 in Mixed media: archival ink and acrylic paint on canvas

30 x 30 cm / 12 x 12 in Mixed media: archival ink and acrylic paint on canvas

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TASTE 13

TASTE 14

30 x 30 cm / 12 x 12 in Mixed media: archival ink and acrylic paint on canvas

30 x 30 cm / 12 x 12 in Mixed media: archival ink and acrylic paint on canvas

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TASTE 15

TASTE 16

30 x 30 cm / 12 x 12 in Mixed media: archival ink and acrylic paint on canvas

30 x 30 cm / 12 x 12 in Mixed media: archival ink and acrylic paint on canvas

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TASTE 17

TASTE 18

30 x 30 cm / 12 x 12 in Mixed media: archival ink and acrylic paint on canvas

30 x 30 cm / 12 x 12 in Mixed media: archival ink and acrylic paint on canvas

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TASTE 19

TASTE 20

30 x 30 cm / 12 x 12 in Mixed media: archival ink and acrylic paint on canvas

30 x 30 cm / 12 x 12 in Mixed media: archival ink and acrylic paint on canvas

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NEW YORK

ar texpo

Artexpo New York is the world’s original art fair; it has been changing how people buy and sell art since 1978.

In April each year, Artexpo New York hosts over 200 innovative exhibiting galleries, artists and publishers from across the globe, showcasing exciting original artwork, prints, paintings, drawings, sculpture, photography, ceramics, giclée, lithographs, glass works and more.

World Wide Art & Artavita have been publishing books about contemporary artists for 25 years, and also promote artists online and at leading art fairs. They contacted Patrick after seeing his work on his website, and invited him to apply for juried selection to their art fair pavilions and book publishing. He was successful on both counts and, in April 2022, exhibited digital pieces at Artexpo New York and was featured in its catalogue. Patrick will also appear in the Current Masters 2022 book that will be published in September 2022, mostly featuring his tapestries. Patrick plans to send artworks to the US for the San Diego Art Fair in September.

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ARTEXPO

This painting was inspired by the beautiful walk around the reservoir in Guernsey. Sunlight bounces through the branches of trees waving gently in the breeze. Colours and energy show the way to live and the way forward, approaching a different sense of reality.

The Agony (After Mantegna) 122 x 81cm / 48 x 32 in Print ink and acrylic paint on canvas

This abstract painting is a reworking of The Agony in the Garden by Andrea Mantegna, and seeks to represent the energy of the painting and the experience of looking at it. The original was painted around 1460 and was inspired by a Treescape

Bellini drawing. I love Renaissance paintings, they were enormously powerful

102 x 152 cm / 40 x 60 in Print ink and acrylic paint on canvas

in their time. Ordinary people only ever got to see still images in the church paintings depicting powerful scenes from the Bible - there is a detailed discussion about that original in my blog.

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ARTEXPO

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Explore Patrick’s studio by scanning these QR codes. Here you will find three timelapse videos that explore his fascinating digital painting techniques that will motivate and hopefully encourage you to produce your own digital artworks. Also, follow Patrick on Instagram where he regularly posts work and inspirational visuals and don’t forget you will also find Patrick at Open Sea where you can view and purchase artworks digitally as NFTs.

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