Contact: Osborne Samuel Gallery, London
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The fine line which separates figuration and abstraction underpins this work. A close relationship with the Pembrokeshire Coast has provoked a large and ongoing series of paintings. Paint in fact, is a major concern in itself. Process, is integral, both in painting terms as well as ‘within’ the landscape. The concept of space, both actual and pictorial; implications of time and place; issues within movement, weather and light; alongside gesture, glimpse and memory are requisite themes within these paintings.

Painting is thinking; it is a presentation of what you do not know as well as what you do know. ‘Touch’ within these paintings is crucial.

“Painting is an Art, and Art is not vague production, transitory and isolated, but a power which must be directed to the improvement and refinement of the human soul”. Kandinsky.

'I believe very strongly that painting is the most primitive and central of responses I can make, to the world around me. The 'spiritual' within what I do as a painter, is the common denominator within my creativity. It doesn't matter, on reflection, whether the work is concerned with the urban; New York, or the rural; Pembrokeshire, these subject matters are just one of many reasons for making paintings. There has to be another response to these works other than a simple recognition of time and place. They have to be more primeval than that, they have to 'touch' you. I aspire to a painting which communicates to everyone, whether you know Pembrokeshire or not. It’s our genetic make-up, it’s being human, being alive to the world, that I wish to tap into. They're about being human, and the act of creativity. They are about contemplation, they have to be sensed as well as experienced, they are physical paintings. The 'spiritual' response and purpose is central.'


Brendan Stuart Burns