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I work mainly with oil paint on a high gloss paper, occasionally I might add oil pastel to delineate forms. The paper I chose is very important to me and very particular in it's texture allowing great freedom of movement across its smooth surface. The oil paints are thinned downed with turpentine; creating a further fluidity of movement and translucency. The combination of paper and oilpaint used in such a manner creates a distinctive quality of luminosity. This technique has been developed by me over the years and I think it is safe to say that it is an original way of working.

Further more I seldom use brushes prefering the tactile quality of paint on hands; or the use of rags which have hardened over time. These 'rags' are my brushes, they allow me to create very distinctive marks! I draw with my fingernails scratching through the paint.

The drying time of the paint is also very pertinent! By working the paint at different stages of the drying process, utilising the different 'rags' covered and hardened with oil paint, new textures can be attained. I have built up a vocabulary of mark making which is interdependant on all these factors.

For me, working with oilpaint is a 'hands on experience' and an amazing sensual one.

Many considerations come into play whilst 'painting' over and above the obvious practicalities. The consideration of colour relationship, composition, invocation of mood, quality of line, reflection, imagination and place are equally important.


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'Lost Heart', by Maggie Campbell

'Push Me, Pull Me', by Maggie Campbell

'Fallen Angel', by Maggie Campbell

'And the Lion Lay down', by Maggie Campbell

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