Mark Osborne

Mark appears to be an artist of two worlds: the one of abstract works created in his London studio and the other of en plein air studies
of Venice.

Yet a single approach binds these two distinct areas of work. I see little difference between representative painting and abstract. They both require intense observation, a relationship with the medium, intuition, and an understanding of what has gone before.

Experimentation is everything. In the studio I am interested in the glorious mess that happens around a painting; on the floor, on the walls, on the newsprint masking the edges, these accidents are always much more beautiful than anything I can organise. When I’m actually painting, I suspend my intellect, judgement and what I know. There is no time to be self-conscious about what I am doing.

Mark paints in Venice for intensive periods every year, working – responding to the moment - in precisely the same way as in his studio. I just have to lose myself in the process, reacting instinctively, leaving cool intellect behind to capture the changing light and shadow. I love colour, I love paint and everything it does, I love the act, the gestures of painting and I try hard to preserve that joy in my work.