The official blog of British Landscape Painter Daniel Goodchild
Monday, 4 May 2015
STUDIO PRACTICE INSIGHT
The origination of painting the land
begins its journey En Situ in the Plein Air. The creation of miniature
Landscape studies, depicting the topographical detailing and forms of the land
depict an affinity and connection with the natural surrounding.
These formal elements provide a schema
of information about the surrounding world, which can be developed further, in
the studio environment, through the exploration of the material qualities of
oil paint. Utilizing the studies as a framework and narrative, the journey
through gesture, the laboring marks of the artist at work and a layering of
texture and marks through paint, allow for an imaginative, spontaneous and
abstracted response to a rather formal first impression of the land.
Accomplishing a BA HONS at The
University of Lincoln, allowed me to explore the natural environment of
Lincolnshire from an agricultural and coastal perspective.
However new endeavors in London, where
I’m currently undertaking an MA in Fine Art at Chelsea College of Art &
Design, have lead me to explore the narrative of the manmade and natural,
coexisting in this dense urban environment, which is challenging my adaption
Marlene Dumas, I believe, has identified
an intrinsic element of my practice.
‘What a funny thing painting is. The
abstract painters always insist on their connection with the visible reality,
while the so-called figurative artists insist that what they really care about
is the abstract qualities of life.’
I’m interested in capturing nature in a
snapshot, identifying elements within a composition, which I believe
would be both challenging and gratifying to paint. This first contact with the
land is intensely figurative and perhaps does locate an essence of the mundane
abstract qualities of life. Through identifying this visual reality, the
challenge remains in how to abstract it and contest it through the materiality