Chasing Sublime Light is an exhibition which explores my experience of travelling in the powerful mountainous landscapes of northern Britain. The work in the exhibition is a direct and vigorous response to these landscapes as they appear now, but the roots of the project are in the journeys made over two hundred years ago by artists who pioneered the discovery of this scenery. These artists included J M W Turner, Thomas Girtin and Paul Sandby, and they were travelling in search of landscapes that would revolutionise painting in the Romantic period: landscapes of the 'Sublime'. The word Sublime had a much more specific meaning in that time than it does today - it was applied to views which were awe inspiring or terrifying - and the places in Britain in which artists found these 'awful' and 'terrific' prospects were chiefly in North Wales, the North of England, particularly the Lake District, and Scotland.
I began work on this project in 2001, and my first task was to document the subjects painted by these early artistic travellers, and to research the routes that they followed. I then made a series of visits to the same places to record my responses, after two centuries, to the changes - and indeed the continuity - that I found. I took with me a 'tool kit' which corresponded to that of the eighteenth century tourists, and consisted of sketch book, water colour paints and paper, gouache and ink. I also took a camera.
The journeys were fascinating, revealing a whole spectrum of changes from wild and almost unchanged stretches of moorland and coast, to the untidy urbanisation of locations overtaken by the industrial expansion of the nineteenth century. Byland Abbey in Yorkshire, for example, shows very little change from when Thomas Girtin painted it in the 1790's, but in contrast to Girtin's day, large lorries and other traffic now speed past it on the road that skirts the Abbey ruins. In a similar manner Kirkstall Abbey was painted by Girtin, the buildings alone in a wide sweep of river valley and empty moorland. After some searching, I found the spot from which Girtin must have taken his view some two centuries ago. The Abbey, now on the outskirts of Bradford, is surrounded by busy urban roads and railway lines and an electricity pylon. High rise buildings punctuate the horizon. By contrast Ullswater in the Lake District still reveals wide sweeps of empty mountain and sky, and silvery reflections of cloud and mist that link air with water. Turner's paintings of the lake show him exploring the same Sublime combinations of silvery light and cloud, sky and reflecting water.
Gathering together the material collected on the journeys I began making a series of finished paintings and drawings in the studio. These studio works document aspects of the landscapes as they presented themselves to me on the journeys, but in addition they have much greater depth and complexity than simple records of what I observed. They are unashamedly personal responses; painted and repainted, they are explorations of my emotional and painterly responses to Chasing Sublime Light.
David Tress
Home | Gallery | Biography | Reviews | Exhibitions | Photo Gallery | Videos |