PHOTOGRAPH: RICHARD BROOMHALL

Anthony Garratt is predominantly a painter of the British landscape. His work is concerned with the weather, an experience and impact of a landscape. His research time is spent in heavy weather, in remote locations and places that have an emotional impact. His work is now in great demand throughout the country and is represented primarily by the Thackeray Gallery in London.

 

Alongside his gallery work, Anthony is working on a series of outdoor painting projects and installations. His 'FOUR ON TRESCO' and 'FOUR ON ANGLESEY' installations saw large paintings created in situ and exhibited long term on specially designed rusted steel easels outdoors. Both projects attracted a great deal of national media interest and were covered by BBC, ITV, Financial Times, Times, Independent, Telegraph, Hello Magazine, Coast, Magazine, Country Life Magazine, The Lady, Simple Things amongst others.

 

AG: “The more I paint, the more I realise that we are at the mercy of the landscape and elements. This is very appealing to me. In a world where we are obsessed with ownership and control, it is humbling and important that we are reminded to respect the weather, sea, hills and landscape on which we rely. I enjoy isolation as much as I enjoy company and some of my most vivid memories are of standing on the edge of a hill in the wind, on the front of a sailing boat in the spray or being caught off guard in the rain.”

 

“Britain provides us with weather which makes us feel vulnerable. For me that is what makes it such an exciting place to paint. The sky changes continuously – one can visit a place a hundred times and each time have a different experience.”

 

Janette Kerr (President Royal West of England Academy): “Paint is splattered, dribbled, and slashed across canvases, sometimes mixed with earth and sand, lines drawn and scribbled into the paint. From the chaos emerges an image. Lines of light streak across his paintings, giving the work an energy, a sense of everything rushing away from the viewer across a broad plane, yet they also engender a sense of space and emptiness. Sometimes we are suspended above ground, reaching out to an indefinite horizon in an unidentified location, in others we are grounded by the insertion of a bridge, a line of telegraph poles, or city skyline. When combined with street architecture, the paintings imply an industrial – even post apocalyptic – setting, or perhaps a supernatural event taking place as beams of light cut through the skies. Even in the paintings where images become almost abstract they still retain a sense of landscape. It is the more monochromatic paintings – those that avoid the slickness of the mark or the easy-on-the-eye colour – that are the most successful; those where paint and mark-making fuse, and that, in their animated surfaces, begin to speak about the act of making and the process of painting.”

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