"The Landscape Series" of 2002 to 2006 was made in quantities of thirty to one hundred 1' square panels, each of the thirty sets generally taking three weeks to complete. The panels were worked on flat, painting eighteen at a time in fifteen minute bursts. They were laid out on an old framed 6' x 3' piece which also served as a container for the pools of colour washed over the textured surface. Two inch square wooden cubes were used to stack the paintings in small towers to dry out. Various factors steered the series development: there was reference to an initial colour plan, thoughts about the load-bearing pressures on a place, tracks and crossing points, airflow, water, spaces and intervals, the nature of settlement in the land. For a city: light and shadows on buildings, streets, side alleys and hidden courtyards, people, stores, traffic, noise, incidents and interruptions. Titles were assigned later to photographs of the line of production. The identity of a place was achieved not by literal description but as an equivalent found by coincidence in the passage of an abstract process.

Table of Contents

Bangor . Bethesda . Carmel . Deinoles . Eglwys . Fron . Gerlan . Llanberis . Llandegai . Nerfedd . Penisa'R Naun . Penhros Garnedd . Pentir . Rachub . Rhostryfan . Saron . Talybont . Trylan . Vaynor . Yelinheli

Author Biography

Born in 1948 Bromley Kent England, Nicholas Philip James studied painting with Frank Auerbach and Keith Vaughan at the Slade School of Art. In 1972 he initiated The Gallery, 65a Lisson Street, staging projects between artists until 1978. He since worked as a house-writer on the Dictionary of Art (Macmillan London & New York) contributing over eighty entries. With Sarah Batiste he edited and published Cv Journal of Art & Crafts 1988-92, forming Cv Publications in 1992 and Cv/Visual Arts Research in 1995. He contributed articles to Art Monthly, Artists Newsletter and weekly reviews to What's On In London. He taught in a variety of schools and adult education institutes from 1970, also lecturing on postmodern culture at Middlesex University. He maintains his art practice as Philip James Studio.