Looking still creating paintings that are clearly

Looking at
his paintings they lean towards the abstract, abstracting clear details keeping
this brush strokes very visible, while still creating paintings that are
clearly landscape, a defining line between land/sea and sky, its although he
paints the landscape while only concerning with colour and texture, and
everything else gets ignored. Also making sure Jackson doesn’t have full
control of the paint. Pouring paint onto, he dictates how much paint goes on
the canvas and where but lets it flow around, or by flicking the paint, this
creates a natural feel to his paintings as the paint is uncontrollable and
random suck as nature. Resulting in his paintings not feeling forced into a
natural form.  Romanticism Started with
the late 19th century being industrialized, separating humanity from
nature enforcing order and discipline. Natural landscapes being destroyed and
replaced by large cities.  Kurt
Jackson’s paintings have romanticism elements in the way artists in the late
18th century depicted landscape. His motivation to paint the natural
environment is also similar too that of a romantic landscape painter, to be
with one with the natural world and celebrating natural beauty. His view of the
natural environment is very romantic, wanting to submerge in nature and feeling
at piece. His paintings of the sea often depict are dark stormy horizon such in
the way turner’s etching he’s inspired by. Other similarities with Turner is
his exaggeration of colour or his loose style. Landscape painters,
confronted with the challenge of recreating the most complex intricate natural environments
in a unique way, have mostly taken to the simpler depictions of painting slabs
of indistinguishable green, viewed from a safe distance. Perhaps not because they
are simpler to depict but rather because of the strength, vitality and
complexity of the true forest challenges the idea that our manmade civilisation
is superior.  Trees are
often depicted individually exploring every detail of a tree or in paintings of
English landscapes with clumps of trees gathered are shown how they have been
domesticated and simplified. Trees have become boarders for farmland or are
used to ornaments gardens. they have become the peripheral in paintings, only
there to frame around more important subject. There aren’t many forest landscape paintings that
exclusively focus on celebrating and embrace the extravagant feel of the forest
from the inside. It is rare the way trees are depicted in romantic paintings
such as John Constable’s piece “the cornfield” are in a tame domesticated
arrangement, they have been placed there to surround the fields. This is
typical example of how forests are often depicted in British landscape paintings,
a view looking at or from but never within the forest. Constable’s reserve
portrayal of the forest relates back to our cultural and social withdrawal from
nature. by the 18th century untamed forest where seen as the opposite
of civilisation. “in a country full of
civilised inhabitants, the forest could not be suffered to grow. It must give
way to fields and pastures, which are more immediate use and concern to life” said
by John Morton in 1712. (Richard Mabey 104)The forest
has become a backdrop for paintings and are represented and analysed as mysterious
and unknown. Kurt Jackson from an early age has questioned this general belief
and was motivated to explore nature more in more depth and detail. “the enjoyment, I experienced as a child was
in knowing what was happening in the bottom of the hedgerow, or what was
migrating overhead at certain times of the year” Kurt Jackson. (Richard Mabey
105). His woodland paintings are viewed from within the forest, enclosed in
entangled thicket of vegetation. His painting “a touch of Autumn through the
trees to Okehampton castle” is very condensed and enclosed with only the glimpse
of the castle through a small gap in the trees showing any sign of an end to
the thicket. Light filtering through the canopies. Painted in dapples of paint intertwining
and overlapping conveying the interaction between light and colour. Trees tell
you time with their cyclical patterns, this painting looks like the middle of
summer blossoming in full. This painting demonstrates natures refusal for the
forest to be tamed, overgrowing and blocking out the view that was once the
castle. The painting is quite archetypical in showing the contrast of man made
and natural, symbolises the ever long standoff between culture and nature. Although
Kurt Jackson never depicts figures into his paintings. Jackson’s woodland
paintings are rarely structured in the conventional way, like this painting, it
doesn’t have an obvious foreground, the only sense of distance you have is the
castle. His painting is almost without depth, feels like nothing else exist
apart from this forest.  Like Kurt
Jackson I am motivated by the beauty of the natural environment, I work from my
own photographs and then work from sketches of my work. I try to focus mostly
on colour and tone rather than form. I like the ambiguity of abstracted landscapes,
I’ve painted with the sky in view, but I find it much more intriguing when
taken most or all of it away and only focusing on the land. The paintings have
little depth and sense of perspective. I also look at Jackson’s painting
technique, I have experimented with throwing paint, pouring and flicking the
paint.