Russell Dorey


Cat 431. SHAKENHURST HALL.  40’’x40’’

The formal concerns of the work are the subject more than the motif, which is just the object I’m depicting.

I’m trying to pin down the distortion that the eye receives, like a camera lens, before the brain edits and understands the information, in recreating something as close as possible to what I see.

My subject has to be contained within within a cone of vision of about 30 degrees because straight lines begin to distort as you get further from the centre. Outside that cone what I’m representing becomes too distorted to be acceptable, in which case I have to weld together different views.

Cat 159.  INTERIOR, LEIGHTON HOUSE.  43’’x48’’
The three interiors were perfect subjects.  Some straight lines had to remain straight or look absurd but I took the distortion as far as I could achieving a sense of being inside the space rather than looking at it from a distance, rather than viewing from the outside

Perhaps ‘complex’ might be a better title than ‘large’.

It becomes difficult to make paintings much larger than about four feet square.

The painting of SHAKENHURST HALL (cat 431) can be seen as another still life. Although it is a huge object it was a couple of hundred metres away.

Cat 152.  LONG MELFORD HALL, STAIRS.  36’’x40’’
Cat 151.  LONG MELFORD HALL, LIBRARY.  38’’x40’’
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