Contemporary Landscape Art

My work explores landscape as a meeting place between inner experience and the living world. Working with pastel, ink, graphite, acrylic, and oil, I work with the forms of mountains, hills, and open terrain to create images that convey a sense of presence.

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These works emerge through imagination, memory, and felt perception. While often taking the form of landscape, they are not tied to specific locations, but arise through engagement with atmosphere, feeling, and the qualities certain places can hold.

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I am interested in how landscape may be encountered as more than scenery, as something imbued with meaning and at times a numinous or sacred presence. The images remain open in how they are met — whether as places, atmospheres, or inwardly felt experiences.

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Through a variety of mediums, my paintings and mixed-media drawings explore landscape and the numinous. Situated between the contemporary and the devotional, the work holds immediacy of experience alongside a reverence for the Earth’s forms as living presences.

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In the vastness of their physicality, mountainous forms can evoke a sense of deep time beyond the span of human life. This points toward a contemplative sense of origin, something within experience that resonates with stillness, silence, and interior depth.

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Such places have been a source of lifelong fascination, both through direct encounters with awe and through their cultural and spiritual significance. Across myth, folklore, and wisdom traditions, these landscapes are understood as liminal places where visible and invisible meet.

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They are not only described as dwelling places of the sacred, but often experienced as such — as thresholds or presences in themselves. My work engages with this, using forms that feel familiar as landscape while also suggesting something that exceeds clear definition.

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The ink and pastel works have a closer relationship to physical landscape and a symbolic sense of North. Ink is applied in flowing lines or small marks using a dip pen, while pastel is worked directly into the surface with hand and gesture. The marks build form gradually, as if stone by stone.

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Paintings tend towards a more intangible register, concerned with making visible an “inner” sense of presence rather than depicting external light or place. I often work gesturally into layered surfaces to build images that appear to emerge from within.

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In repeatedly creating these forms, I am expressing a felt relationship to landscape rather than depicting specific locations. Landscape becomes a visual language for exploring experiences that are difficult to articulate directly. This connects to the idea of immanence, that material form may be understood as expressive of a divine presence.

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Many of the artists and writers who inform my work explore relationships between nature, spirit, and form.

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Contemporary influences include Agostino Arrivabene, Richard Skelton and Autumn Richardson, and Anselm Kiefer. Historical influences include Cecil Collins, Samuel Palmer, Ithell Colquhoun, and Nicholas Roerich.

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Alongside this, I am drawn to painters whose work engages more directly with landscape and its emotional and formal qualities, including Joan Eardley, Ivon Hitchens, Norman Ackroyd, and Peder Balke, among others.

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Writers, thinkers, and mystics such as Peter Kingsley, Carl Jung, John Moriarty, and Don Domanski also inform my practice, as do esoteric and folkloric traditions rooted in landscape and place.

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My work is also shaped by the ancient landscapes of Britain, and by practices of walking and attention within these environments, where landscape, memory, and myth continue to overlap.