Chris makes paintings of frolicking fish. His painting surfaces explore colour. They are made with respect for the timeless qualities of pleasing aesthetics, beauty and harmony. Value being placed on quality materials, craftsmanship and customisation. Promoting interior design creativity. Inviting contemplation, empathy and thought about contemporary drivers of culture.
His work makes single paintings, diptych and triptych vertical collections. Considering the impact of nature on Us. Creating paintings with pleasing aesthetics as an antidote to some of contemporary life’s burdensome issues.
Chris collaborates with others to find new engagement for painting with interior design also with outreach and education. Discovering also an active approach to curating, mindful of supporting global action about the contemporary issues that drive his work.
Collaboration is based on intervening in diptych collections to create triptych work. Interventions may be from aspects of culture that are visual, literary, scientific, heritage, fashion, theatrical or otherwise, each jostling for attention. Triptych interrelationships are presented as a new paradigm for painting and the intervening source.
Exploiting a tension between creating something aesthetically pleasing from some of contemporary life’s burdensome messages. Contrasting the pleasurable with adversity. Distinguishing what a painting is of, from what it is about.
Mindful of the relationship between Us, nature and technology. In the contexts of Sustainable Development Goal 17, social power & belonging, as well as Eastern and Western kinds of Liberty.
Chris’s business career spanned over forty years. As a partner specialising in telecommunications and computer technology, he worked in North America, Europe – in particular Switzerland and Italy – The Middle and Far East. Sector specialisms included water, finance and government. Administration specialisms included business development, project management and strategy.
His audit work was published. His work always involved creative solutions, continuing to find them in art after leaving his business career. Starting with his BA (Fine Art) and MA (Art & Design), involving painting, print making, heritage and large scale, metal, relief sculpture. Oil painting continues his journey. As does Sustainable Development Goal 17. Along with common ethical principles and a global perspective; crossing boundaries, inviting exciting multidimensional thinking.
Chris is a non-scientist board member of Climanosco, Zurich.
St Albans, UK
Auerbach, Bonnard, Corot, Monet, Van Gogh, Sergeant and Sorolla.
Daniel Preece, Hugo Grenville, Sabine Moritz and Martin Kinnear.
Netherlands Dance Theatre, Pina Bausch, New York Metropolitan Opera and Science Fiction.
“Art and Visual Perception”, Arnheim R, Berkeley: University of California Press, 1974.
“A Simple Explanation of the Ostwald Colour System”, Taylor J. S, London: Winsor & Newton, 1936.
“Climate Change: Visual Art as a way to communicate climate change”, Liselotte J. Roosen, Christian A. Klöcker, Janet Swim, 2016.
“Colour and the Human Response”, Birren F, London: Van Nostrand Reinhold, 1978.
“Colour. A Manual of its Theory and Practice”, Carpenter, H. B, London : B. T. Batsford, 1933.
“The Aesthetics of the Undersea”, Cohen & Quigley, London: Routledge, 2020.
“Colour Choices”, Quiller S, New York: Watson-Gupthill, 1989.
These paintings are for citizens tired of disaster-apocalyptic-newsreel about extreme climate events or pandemics. These paintings are for those who reflect on such matters by placing pleasurable paintings on their interior designed walls or stairwells; citizens who prefer their walls to offer disaster-antidote with colour, ambiguity and movement, travelling in the direction of hope.
Contrasting hues, greys and rich colour vary in their extent. Opaque, transparent, warm and cool colours interact, sometimes within a narrow tonal range. A restricted palette uses black, white, special and classic pigments, whilst gold and silver leaf also glimmer in highlights. Complementing modern, classic, Scandinavian, simple and other designs for walls and stairwells. In private, public, corporate surroundings or windows – expressing a personal point of view about well-being.
Emotion, fun, imagination, improvisation, intuition, hope and memory produce edges, lines and texture. Seeking tension, energy and ambiguity. Amplifying pictorial movement and depth. In single, vertical diptych and triptych collections. Contrasting with the horizontal, not worrying about the judgement of friends but doing things differently. Inviting the viewer to look up, to consider the figurative and the abstract, finding hidden meanings in painting surface and space.
Inviting the viewer to reflect on contemporary issues from a different viewpoint, considering the impact of nature on Us. With frolicking fish an antidote to discordant scenarios of 21st century life.
Project Fish is trans-disciplinary, international, and virtual collaboration, which intersects oceans on the rise science, visual art & culture and Surrealism.
There is no right way up to hang these paintings.
Swiss author of free verse, expressing through the short French poem an intimate dialogue, a love of nature. Seeking the voice of conscience, calling for self-questioning, reconciling the responsibility of man and his role in nature. Writer of poetry about Project Fish paintings. Poems becoming visual art, joining paintings, making collections for a wall, or stairwell.
Project Fish supports Earth Day.
Project Fish projects:
– Fish & Chips
“Colour and Experience in Nineteenth Century Poetry”, Cronin R, YC.1989.a.917
“Formulas for Painters”, Massey R, New York: Watson-Gupthill, 1979.
“An introduction to modern philosophy” , Castell, A, London: Collier Macmillan, 1983.
“Kandinsky”, Serrs P, London: Thames and Hudson, 2016.
“Mondrian”, Riley B, London: Tate Gallery Publishing, 1997.
“Of Moths and Men: an Evolutionary Tale : Intrigue, Tragedy and the Peppered Moth”, Hooper J, London: Fourth Estate, 2002.
“Painted Poetry”, Smith, A K, Oxford: Peter Lang, 2011.
“Phenomenologies of Art and Vision”, Crowther P, London: Bloomsbury, 2013.
“Seven Types of Ambiguity”, Empson W, London : Chatto & Windus, 1930.
“Visual Metaphors: A Formal Analysis of Navajo Art”, Hatcher E. P, St. Paul: West Publishing Co.,1974.
“Vitamin P3: New Perspectives in Painting”, Melick T & Morrill R, London: Phaidon, 2016.