I spent a few weeks last summer trying to paint the shadows in the valley. The shadows in the contours of the hills are hundreds of feet high – vast, lumbering areas of darkness that stealthily creep around as I watch. Inside the shadows are many areas of colour, making it very difficult to translate them into paint. The more I stare and try to simplify them so that they fit onto my tiny canvas, the more impossible the task seems to be.
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Looking for something
Far away, in a town full of mysterious archaeology and golden light, it felt like I was looking for something, or even someone. But Van Gogh certainly didn’t live there any more, and it was difficult to imagine a time before cars prowled the streets.
There was definitely plenty of light and colour, accompanied by warm shade. Then there was the amphitheatre, appearing enigmatically at the edge of things and looking quite unreal lit by the evening sun.
Some of these things are needed in paintings, I think. The rich colours, the light and shadow and the feeling of an unknowable presence, seen or unseen, in the distance.










