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Brian’s work varies between figurative and the abstract. He uses a variety of papers, some handmade, including a favourite Nepalese paper. This is sometimes used as a collage on top of another, maybe smoother, paper, giving contrasting, broader colour fields as in 'Pool near the Wood I' and 'Pool near the Wood II'. At other times, he can cover the paper with up to 8 layers of pastel, highlighting any raised texture as well as scratchmarking to reveal shapes, symbols and an underlying colour as in 'Norfolk Church – High Summer I'.
At other times, he is drawn to using saturated colours, also with various metallic leaf such as a range of golds and palladium (which creates a non-tarnishing silver) as in 'Silver Rock II'. He may also use gold and metallic leaf together with pastel and pencil to create simple geometric images as shown in his series inspired by the Burren Country in County Clare, Ireland, seen on a springtime visit. A fusion of sea and land is apparent in these works, as is a feeling of spiritual ascension, notably in ‘Burren Eventide III’, the last of the series.
Later, his work again became more figurative, as seen in 'Stars over Bodmin Moor I' and 'Stars over Bodmin Moor II' while dramatic cloud formations inspired 'Skyscape over North Cornwall I' and 'Skyscape over North Cornwall II' as well as the 'Red Boat' series. A visit to Kent led to 'Abandoned Fuel Tank – Dungeness' – an eerie shingled beach scene with, again, a dramatic skyscape.
More recently, works such as 'Moon, Cross & Stones I' and 'Rain Showers over Stone Circle' were again inspired by Brian’s home territory of Bodmin Moor, while his latest pastels continue the theme of dramatic clouds over the moor: 'Sun, Moon & Storm Cloud' and above the last working quarry in St Breward: 'Quarry & Cumulus' (and again in the engraving ‘Quarry & Storm Cloud’ which he is currently working on).