I respect the traditional values of the painters like Turner or Monet. They drew from life and got out there weathered and in the moment, brought back their studies, and that experience was imprinted onto the final canvas. Strangely I've taken to photography to document my experience or ideas around shapes and colour, form and structure. It seems to work and benefit my art. Whether that's wrong practice for a painter, so be it. It's working for me. After all, where would fine art be now if we didn't challenge and break the rules. Every good painter must raise questions, challenge reality, and break the rules. That's how the artist invents something new and exciting.

There is no logical reason why Paintings and Photography cannot work alongside each other.

Colour is still the leading study here. As a painter, I simply cannot ignore the hypnotic light that impeaches the North Welsh Coast and the historical towns that inhabit it.

Mark J Pullin

"Lysfaen Landscape"

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"Red Ocean Sky"

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"Edge of the Great Orme"

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"Barmouth Tide"

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"Thinking of Vincent"

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"Yellow Storm"

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"Harlech"

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"Blue Dusk"

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"Red Road"

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"St.Cynfran Church"

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Ver más de Mark James Pullin / See more from Mark James Pullin

Mark James Pullin Home ~ Lost Connections ~ Transient Nights ~ The Northern Forecast (A Retrospective) ~ Secret Summer ~ The Red Series ~ Coastal Walks 2018 ~ Disposition of Light 2017 ~ Coastal Walks ~ Balance the Stigma ~ The Empirical of Light ~ Endless Odyssey ~Exhibition ~ Colour Fractures ~ Colour Within the Shadow ~ Echo's across the Coast ~ Conflicting Memories ~ Eulogy of the Species ~ About Mark James Pullin Art ~ Mark James Pullin bio

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