A way of unease surrounds the buildings in Lee Madgwick’s work, their sides crumbling or coated in thick vegetation as they stand alone in fields or swamps. The uncared for buildings seem lifted from cities and cities and dropped instantly into rural landscapes, the place nature slowly envelops their brick facades or sprouts timber from their eaves. “I’m endlessly drawn to locations of abandonment and isolation,” Madgwick tells Colossal. “I’m compelled to discover these enigmatic wonders. There’s a poignancy and an unwavering silence and fragility that hangs within the air.”
Containing solely remnants of human life, the scenes immediate questions in regards to the buildings’ origins and caretakers. Some items, like “The Veil,” depict a house long-deserted by inhabitants as thick vines cowl the decrease home windows, whereas others like “Fen View” counsel that folks stay, as a small window is neatly trimmed out of an overgrown hedge.
Working in what he phrases “imagined realism,” the artist makes use of a mixture of water-mixable oil and acrylic paints layered through the course of a number of weeks. “The skies are painted with the palms of my fingers and fingertips. It’s probably the most expressive a part of the method,” he shares. “Along with a brooding sky and concentrated mild a way of drama is shaped and a story is about in movement.”
Madgwick has a solo present slated for October at Brian Sinfield Gallery in Burford, Oxfordshire. Till then, discover his work on Instagram and store limited-edition prints on his site. (by way of This Isn’t Happiness)
Do tales and artists like this matter to you? Develop into a Colossal Member at the moment and assist impartial arts publishing for as little as $5 per 30 days. You will join with a neighborhood of like-minded readers who’re obsessed with up to date artwork, learn articles and newsletters ad-free, maintain our interview sequence, get reductions and early entry to our limited-edition print releases, and far more. Join now!