Paul Alexander Forsey
October 11 1964
1983 - 84 Middlesex Polytechnic, Cat
Foundation Studies in Art and Design
1984 - 88 University of Reading, Reading, Berkshire
BA (Hons) in Fine Art; Painting and Printmaking
1988 - 89 University of Reading, Reading,
Postgraduate Certificate in Art and Design Education
A full time artist and designer, I exhibit
my paintings regularly and have work in many collections including
the Arthur Andersen Art Collection, P and O, the Gyosei International
College and a series of 11 works on paper in the Strand Headquarters
of Enterprise Oil. I am a past winner of the Farnham Open.
Media used can be various, but there are three
converging strands to my work; biblical, abstract, and digital,
and there is regularly a lot of cross over between them.
Painting any passage from the Bible
is quite challenging as you are essentially trying to be a
part of over 2000 years of tradition. Most of the greatest
masters that have ever held a brush have painted biblical
scenes and they are generally my first reference when beginning
a painting. It really is a case of standing on the shoulders
Working on the Newbury
Mosaic, which took 12 months to complete, was a chance
to indulge my interest in Byzantine and early Renaissance
painting, drawing and mosaic work. The mosaic uses both traditional
materials in the form of Venetian glass, in combination with
the very latest computer controlled milling and machining
technology, and this use of technology continued with a commission
to design a large 9 panel stained glass window
as Artist in Residence at Newbury International Spring Festival.
is quite abstract although using words and pictures together.
I work on an Apple Macintosh with Photoshop, Illustrator and
Painter. Very keen on how words and pictures integrate with
each other, digital work often has text as part of the composition.
work is very colourful and often quite large. I like to use
the scale of big oil paintings as a bit of a relief from the
relatively small scale of digital and gouache work. They are
not planned in advance as each painting tales on a direction
of it's own. Recently, words have begun to appear.
In spite of the differing approaches and subject
matter, they do have a great deal in common; colour, arrangement
of form, how the eye is drawn through the composition and
the mixture of planning and chance.
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