FINE ARTS ELITE INTERNATIONAL
LONDON - PARIS
MAX LANIADO FINE ARTS
Consortium Laniado fine Arts New York, London, Paris
ONLINE SOLO SHOW
Until July 14
SOME OF THE ARTWORKS FEATURED IN THIS PAST EXHIBITION
MAY STILL BE AVAILABLE FOR SALE.
UPON YOUR REQUEST, WE WILL BE HAPPY TO SEND YOU PRICED INFORMATION FOR YOUR FOR YOUR FAVORITE ARTWORKS.
(Please note that we do not respond to anonymous requests)
Claire Murray (b. 1970) is a British artist living and working in England.
With great mastery, Claire brings her feelings and vision of the world through an original expressionist abstraction. Beautiful colors, subtle transparencies in harmonious compositions raise the limits of abstraction to extract the essential impressions. Reality may show through but is is overpowered by the fundamental emotions.
"My paintings are essentially about the world around me, an attempt to understand the systems and natural order of our existence. I am inspired by the landscape, its geography, topography, light, colour, texture and sense of place and space. As a visual artist, the physical natural environment gives me such a lot of visual stimuli to work with, which feeds my mental and imaginative landscapes to the point that I never work to ‘represent’ a place, but perhaps try instead to ‘inhabit’ that space within a painting."
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Sometimes Claire Murray paints on paper. Why on paper and not on canvas or panel?
Paper is a medium often used by the greatest classical masters. It is often mounted on panel or canvas for even more durability. But the reason is that the paper brings another "sensual" relationship between the painter and his creation.
Claire puts it this way:
“I enjoy working on a variety of substrates, mainly because each surface reacts differently to the paint. Also, a big part of my practice involves mark-making, and this works very well on paper, allowing me to achieve fine lines and a delicacy that is more difficult to create on canvas.
I am currently working on a series of rich abstracts on smooth, heavy paper, primed with gesso first. The paper I use is wonderful, as the paints can be spread thinly, absorbed in an interesting way on the paper, and gradually built up in transparent layers to produce depth and intensity.
This works so well on this paper as it is strong and robust and able to withstand manipulation. The smoothness allows me to draw into the painting, under, within, and on top of the layers of paint, trapping fine and delicate lines between areas of color and depth. The paint's finish is deep and luxurious, and this method allows me to create more complex layers.”
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