John Harmer

The inspiration for much of John’s work lies in looking at landscape and architecture through the lens of art, cinema and television rather than direct observation.  In his recent work he has been drawn to the classic theme of the figure in a landscape, in particular the work of British painters Keith Vaughan, Michael Andrews and Paul Nash; as well as the Australian painters Fred Williams and Sidney Nolan. These influences run alongside his research into film stills incorporating  facets of landscape.

‘I don’t intentionally put a sense of isolation into my work – I’m really only concerned with juggling the formal elements of the painting. That being said, I’m aware that many observers have noted themes of isolation and solitude in my work – but it’s not a conscious consideration when I’m painting’.

There is a strong narrative element to much of his work often witty, surprising and irreverent. He has an extraordinary facility with his medium of acrylic manipulating the paint in areas of impasto, watery washes and scraping in and scratching out.  Colour is key –  complementary  colours highlighted by a sudden vibrant tone.

John describes himself as an ‘introvert ever occupied with painting.  For me, an open-ended and free approach is what makes painting such an exciting and compelling creative project’.

John studied Fine Art at Worthing Art College, and then at Bournemouth and Poole College of Art and Design. He has exhibited in London and the provinces and was twice selected for the National Open Art Exhibition.  He now lives and works in West Sussex.

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John Harmer

The lockdown has suited me, I’m pretty introverted and ever occupied by painting. Over the last few weeks, I have been drawn to the classic theme of the figure in a landscape, paying particular attention to the work of British painters Keith Vaughan, Michael Andrews and Paul Nash; as well as the Australian painters Fred Williams and Sidney Nolan. I have also been researching film stills relevant to the subject of landscape, and incorporated facets of those images into my new work.

The resultant paintings demonstrate the influence of all of these elements, as well as my personal memory of the Sussex landscape that surrounds me, but which has been recently inaccessible. I don’t intentionally put a sense of isolation into my work – I’m really only concerned with juggling the formal elements of the painting. That being said, I’m aware that many observers have noted themes of isolation and solitude in my work – but it’s not a conscious consideration when I’m painting’.

 

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