Castle Fine Art gallery visit
I popped into Castle Fine Art Gallery spontaneously before going into college, and I am so glad I did. The staff were so welcoming and took the time to show me different artists and talk through the work. It felt relaxed and inspiring rather than intimidating.
I took photographs of the artists who really stood out to me, including landscape painter Paul Corfield, who paints serene landscapes inspired by the British countryside. Influenced by artists like Turner and Monet, his work presents an idealised and nostalgic view of nature.
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Paul Corfield
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Sculptor, Marco Olivier who creates striking abstract sculptures of the human form using resin, bronze and recycled materials. His work feels raw and emotional, reflecting themes of strength, resilience and transformation, which connect to his own journey growing up in South Africa.and landscape painter
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| Marco Olivier |
The reason I was so glad I walked in was because I was completely blown away by Richard Rowan’s work. His paintings have a photographic finish, so detailed and precise that they almost don’t look painted at all. What amazed me even more is that he paints in reverse onto glass. He does not build the image in the usual way. He has to paint the foreground details first and the background last, which requires incredible planning and control. I think that level of patience and skill is unbelievably talented.
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Richard Rowen
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Seeing the high-gloss rhino artwork in The Range first sparked the idea of working onto Perspex again. The resin-like finish and reflective surface made me think about depth and shine in a different way. Then, after visiting Castle Fine Art and seeing Richard Rowan’s reverse glass paintings, I felt even more inspired to explore this further. Rowan paints in reverse onto glass, carefully building the image in the opposite order, which requires precision and forward thinking. This has encouraged me to try abstract painting onto Perspex in reverse. I am interested in how colour and mark-making might feel different when viewed through the surface rather than sitting on top of it. I think this process could create a new sense of depth, control and intention within my abstract work.
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