New Work: Nocturnes

Its time to call a temporary halt to my beautiful nightmare: considering the term nocturne's musical heritage perhaps I shall call it an interval.

I have loved making these, I think I could work on more for many months yet to come. They are strange - easy on the hands but incredibly difficult on the judgement. The hand and brush skills required are minimal but the everything else is demanding. When you are working within such a tiny tonal range then the way every mark catches the light, the sharpness or softness of every edge, the tiny differences in colour, the opacity and transparency of every glaze or impasto, the relative glossiness of each passage, the way the texture of the canvas is emphasised or disguised and a thousand other subtleties take on a disproportionate importance because they are the only way the space, the light and the looming quality of the landscape can be indicated. They are the hardest things I have done, and I am a better painter for having made them.

So far there are six. Two show the full moon in relation to the bushes that grow along the riverbank here, the square one barely shows the Thames itself reflecting back the inky sky. All of these three are dominated by the street lamps of either the M25 or Englefield Green which, although they are out of sight, are close enough to stain the sky near the horizon as if with a permanent, artificial sunset. The other three explore the impact of car headlights. In one they are blinding, in another they slash the world in half but at the same time help give form to it and in the third they are less dominant and give glimpses of the surrounding trees.

There are two larger ones yet to be started related to these, and three more which are just a gleam in my eye at this stage which will look at the way mist rises across the meadow. I'll freshen up with something else a little more autumnal before I make those though.

I know you must be sick of me bemoaning the difference between a painting and a photograph of that painting, especially given my tendency to build paintings from multiple layers of transparent paint, but never has it been truer than here. The plan is to show them in Guildford in January; coming and seeing them is the only way to understand the subtlety. I may put close-ups up here at some point to give you a chance, but I've gone on enough for one day!