Landscape painting

The images in this exhibition were based on questioning relationships between the histories of painting and photography, which helped to establish the indexical references that became both photography’s most powerful attribute and most subtle illusion. Debates over the objectivity or subjectivity of the photograph and the uneasy relationship between painting and photography, as played out in the history of art, have been brought into sharp relief with the contemporary proliferation of digital images. The digital realm of photography gives rise to a general and relative skepticism of verity, but it can be argued that to artist/photographers, this representational malleability is precisely what their purpose becomes. In researching current issues of the indexical in photographic practice, landscape provides a potent vehicle for exploring issues of representation and illusion, the nexus of painting and photography, and the digital realm. One of contemporary photography’s most resonant themes is a return to pictorial subjects and methods, including a renewed interest in floribunda, still life and landscape. The resulting deconstruction and reconstruction of landscape ‘painting’ in this body of work- the monochrome, linear abstraction, painterly representationalsism and pictorialist detail is presented as a perceptual, aesthetic and digital act. The exhibition incorporates landscape painting’s simplicity and complexity, photography’s significance of representation and minimalist aesthetics in an over-mediated world.

The art of landscape painting in oil colour,

Mode of access: Internet.

Hints on light and shadow, composition, etc. : as applicable to landscape painting : illustrated by examples /

Mode of access: Internet.

Three essays : On picturesque beauty; On picturesque travel; and On sketching landscape : to which is added a poem On landscape painting /

Mode of access: Internet.

Departmental elections and the changing landscape of French politics

The departmental elections of March 2015 redrew the French political landscape, setting the new terms of electoral competition in advance of the regional elections of December 2015 and, more critically, the presidential election of April–May 2017. These elections saw the far-right National Front (FN) come top in both rounds only to be outmanoeuvred by the mainstream parties and prevented from winning a single department. As a case study in vote–seat distortion, the elections highlighted a voting system effective in keeping the FN out of executive power but deficient in terms of democratic representation and inadequate as a response to the new tripartite realities of France's changing political landscape.

Histoire de l'art du paysage depuis la renaissance des beaux-arts jusqu'au dix-huitème siècle, ou, Recherches sur l'origine et les progrès de ce genre de peinture, et sur la vie, les ouvrages et le talent distinctif des principaux paysagistes des différentes écoles /

Includes index.

French painting : National Gallery of Art /

Mode of access: Internet.

French painting in the sixteenth century,

"This book has been translated from Monsieur Dimier's French ms. by Mr. Harold Child."

Dalek in landscape

The work generates theoretical connections between art history, science - empirical experience,and popular culture. Landscape is used as a medium and process to explore these connections. - landscape appreciation and its origins - the coloniser within the landscape (while landscape seems to be complicit with the colonising force, the land itself often underminds it) - landscape and coloniser as cyborg (an organic core with a 'man-made' chassis).

Liquid landscape (Headland)

A complex structure floats on an undulating colour field. This could be a description of any landscape painting where the built environment, human culture, intersects with the natural world. In Stephen Bush's "Cumberland" (2010) an appropriated landscape supports a log cabin - centrally and ideally placed in a picturesque, alpine landscape. The cabin though, has no relationship to the ground plane, above which it hovers, while its shadows fall in the opposite direction to the buildings and mountains behind it. Bush fetishizes paint, exploring its plasticity and exploiting the viewer's gullibility (as do I). My work realises Bush's aesthetic in three dimensions, extending it to meet with the act of looking, and asks the viewer to merge with the work of art.