Beth Fletcher
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Beth Fletcher
For me, painting landscape truthfully is as much about touch as vision, as much about intuition and memory as conscious thought and decision. It requires intuitive, gestural and organic mark-making, reproducing the actions of nature, adjusting and re-adjusting to every previous mark, responding to colour relationships and ideas that have gone before in order to build up a constructed experiential landscape. Thus moments are layered, melting one into the next, just as a landscape is seen from a distance, approached, and ultimately consumed.

These layered, transient, seen and felt moments, when transformed through the painting process, are intended to engender a prolonged engagement with the painting as a mediated experience of landscape. Mark-making is not depictive of landscape but like landscape: if the paint is metaphor, the marks are simile. In the studio, rather than directly in front of the landscape, I can paint under the influence of the memory’s interpretation of the living landscape – the ‘soul-yearning’ which is a response to more than what is manifest only to the eye.
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Selected Works


Beth Fletcher, October Day
October Day
Beth Fletcher, The Island (Mirage)
The Island (Mirage)
Beth Fletcher, The Suns Blue Shade
The Suns Blue Shade
Beth Fletcher, Garland (Part II)
Garland (Part II)
Beth Fletcher, Hold off the Sky
Hold off the Sky
Beth Fletcher, The Pass (Study)
The Pass (Study)
Beth Fletcher, A Rushing Moment
A Rushing Moment
Beth Fletcher, Beach in a Creamy Light
Beach in a Creamy Light
Beth Fletcher, Garland (Part I)
Garland (Part I)
Beth Fletcher, Under the Nights Glow
Under the Nights Glow
Beth Fletcher, In the Loosening Air
In the Loosening Air
Beth Fletcher, Red Fluched Slope
Red Fluched Slope
Beth Fletcher, Memento (Verdure)
Memento (Verdure)
Beth Fletcher, Spare Light, A Pleated Sky
Spare Light, A Pleated Sky
Beth Fletcher, Memento (frayed)
Memento (frayed)