A new series of seascape and landscape oil paintings in Paul’s signature style, inspired by the wilds of Western Scotland and Skye. The work for these shows is based on the drama of play between light and darkness, heavily influenced by trips to Western Scotland and the Isle of Skye. The working process for this new series has been as destructive and creative as the landscapes seen in situ, but as always, the finished pieces are a consequence of recollection, a portrayal of the underlying, stripped back elements themselves.
Paul will be unveiling a series of newly styled work – the result of some serious experimentation in the studio. He wants his paintings to tease out more than the eye can see, to draw people in and invite them to experience – not just consume – an image.
Who is Paul Bennett?
Paul is an established international fine artist, offering a contemporary view on traditional sea and landscapes. His work is found in public and private collections worldwide, from palaces and yachts to homes and private members clubs. A great investment, the value of Paul’s work has increased by 50% in the past 5 years.
The Padstow Gallery, Cornwall, U.K.. – 01/09/2018
Arkley Fine Art, Hitchin, U.K. – 13/09/2018
International Art Acquisitions, Rochester, New York, U.S.A.. – 23/09/2018
Gallery Different, London, U.K.. – 04/10/2018
Gormleys Fine Art, Belfast, Northern Ireland U.K.. – 03/11/2018
Tignabruich Gallery, Scotland, U’K.. – 30/03/2019
Born 1975, I was raised in one of the countries generic, mid-seventies council estates in a nondescript town, twenty-five miles North West of London Zoo. When I grew up I wanted to be a Stuntman – instead, I worked from the age of 12, in many jobs including milk boy, junior mechanic, failing DJ and barman. They all had their moments but were, in essence, not what I wanted to do. I have all ways wanted to create and pouring a pint didn’t quite cut it.
After graduating in 2001 and gaining a BA Honours in Fine Art Painting, I fell into Graphic Design, after all how does a recent graduate make a living painting pictures. Finally, after working in the City of London, I wanted to head back to the painting studio and found the perfect one, by Kew Bridge. I got to meet some great artists and friends. After a few successful exhibitions and involvement with galleries I became a professional Fine Artist. After a decade or so painting in London I was lucky enough to be able to relocate and I now live with my wife and two kids, in Lake District National Park, where I own stuff made of Gore Tex. I have several anoraks.
It has been quite a journey to get here and it’s not all been fun, but I’m not complaining. I now spend my days in the painting studio, creating semi-abstract seascapes and landscapes. When I get the chance, I venture into the Lakes, Mountains and nearby coastlines. When time allows, my daughter will join me in the studio. She makes lots of mess, never tires of asking a question and I wouldn’t want it any other way!
The seascape and landscape paintings created are inspired by memory and experience and are developed using artistic intuition. They are not tied into any specific region or time, they are an eclectic synthesis of place, weather and season. Paul chooses to capture and communicate the experience this way as it reflects life with its unceasing process of observing, experiencing, interpreting, storing – and ultimately – reflecting. The result he strives for is a unique and original visual experience that has captured not only the sense of somewhere/sometime, but also the more subtle notion
Occasionally Paul refers to photography as a starting point and as a way to engage with the surface and begin the initial mark making process. After this point it is all an abstract interpretation of the memories he has and places he has experienced. This is all brought together with constant experimentation. The paintings are continuously evolving with the process directly influencing the next work.
Oil paint is the medium that plays a big part in capturing the essence of a faded memory and lends itself nicely to the way he paints. It works well when applied thickly yet can create great depth when worked into the surface sparingly, leaving previous layers partially exposed. The paint is applied in this way to give the artwork itself a narrative and history, where the process of its creation can be glimpsed at in places – not dissimilar to the way in which the memory deals with the hazy recollection of a place once visited.
The Light and the Darkness – Information PDF
The Light and the Darkness – Example Images (Zip File)
The Light and the Darkness – Plain Text Information (.txt File)