Artist Statement

Piers, a  Shropshire-born lad, acquired a love of drawing and painting in early childhood scooter -ing about in those Constable-like lanes  of Salop. After formal art training, he travelled alone  and painted (and adventured!) extensively in Europe and for a month central Africa, before settling in his adopted, equally landlocked  North Yorkshire in 1975:  Wensleydale, especially from a height affords amazing panoramic, unspoilt vistas,  a major influence upon Piers’ life and work.

He is a ardent colourist and this combination for capturing light with free brushwork's or palette knife's panache has produced many exceptional oils and etchings, some regularly hung at the R A Summer show.  

Most recent are paintings and etchings of south east Provence for  LA ROUTE DES VIOLETTES.
Do see the etchings by clicking here

From etchings of Shropshire and Wensleydale and the Lake District and then 167 exceptional trees  from all over the UK and Eire, now just completed is this novella "La Route..."  set in the  foothills of Provence's Alpes Maritime around Tourettes sur Loup near Vence which is well above Nice on the s-east corner of Provence below the Alpes Maritime

Overwhelmingly the desire to capture the beauty of Nature, and at rare times people in the scenery,  drives Piers on. He is amazed at our fragile but abundantly beautiful and useful planet's loveliness held in space amongst a vast firmament and, being both a Christian, an ardent GREENPEACE founder-member from 1972 and once an EARTHWATCH water sampler, it is land and seascapes where his life's work is 'mined'. The writing of 'La Route des Violettes' and his poetry, however, deals primarily with people.

Though he has always painted in oils, Royal Academician artists Diana Armfield and her late husband Bernard Dunstan wrote:
"We both admire the wonderful intensity of Piers' vision, and in some of his oils, the handling, the rythmn of the paint marks, make for a strange beauty all of their own......and his etchings are superb."

Laurie MacLaren who used to run Highgate Contemporary Art and promote Piers' paintings, once said in 20013:
 "Piers always paints with fervour conveying strongly what he loves".

                                      THIS IS AN IMPORTANT NOTE for patrons of so called ORIGINAL PRINTS - prints Piers makes by hand:
Piers is renowned as a Printmaker of ORIGINAL etchings having worked onto  VIRGIN METAL by etching into the plates lines and tones, and, also by hand, inking up the etched lines and tones.
But, over the last decade,
THERE IS MORE THAN a bit of a confusion over the term "Limited edition Giclee print” to the buying public.
Nowadays, by casual deceit, a photographed painting or drawing or watercolour (whatever two-dimensional artwork) can be signed and numbered, then beautifully framed and  passed over to people as a “Limited Edition’ print!
It is often exactly the same price as a hand-made, truly valuable, non-photographed "Limited Edition, Original print".
The public are often convinced this giclee print is ‘original when only the signature is! PB and all printmakers have no objection if printed on the giglee's front is:
'This is photographically reproduced from an Original Work.

 Buying a photographed work of say an OIL painting  at almost or even the same price as an 'original' handmade print is madness, being really no less than a ‘con’ as the public are being sold what is in effect a photo Reproduction sold in a glamourous frame at exorbitant prices and most likely because the word ‘Giclee’ sounds glamourously to authenticate a truly ‘Original Print’ when it’s not handmade and thus hardly ‘original’, so really the public are misled. In PB's experience when he asks gallery staff why the sell these reproductions called giclees at an original's price, the gallery staff cannot reply! - or say 'they're v popular so we can;t go on as a gallery without this happening!"  That really must confuse the art buying public keen to have something of value in their homes! A Giclee print is a fancy frenchified word for a Reproduction, worth and worth just the value of the artist's signature and the minimal cost of its photographically reproduced printing by a Printer. It does not having the genuine emboss of say an etching or the live artist's ink of a lithographt hat is run through a Press having been each one made by hand, inked by hand, printed by hand  and signed to say genuine, etc etc. Would Picasso have signed reproductions and go on to make the photos (as that is what they are) a numbered edition!

DEAR, potentially  deluded patron, ask a gallery  if you are cosidering to buy a giclee whose real value is in the expensive frame into which it is plopped:  'WHY SO MUCH FOR A PHOTOGRAPH OF AN ORIGINAL?!"

A law should be passed to say, perhaps with a stamp of PHOTOGRAPHIC PRINT on each giclee, that one must make this clear to the public! The way oils are photoed, then framed expensively having been put on canvas which is then varnished, is also downright 'hoodwinking' Joe Public.