Pre Exhibition Interview with Bob Davison

 

Nestled in the heart of his Gloucestershire garden, Bob Davison’s studio exudes a serene energy. With large glass doors framing towering specimen trees, the space is an extension of the artist's philosophy—a fusion of nature, science, and the visual perception of abstract forms. Davison’s work, both paintings and drawings, evolves from careful observation to abstract interpretations, reflecting the transient and elusive nature of perception.

 

This studio visit was conducted in preparation for Davison's upcoming solo exhibition, About Looking, at Aleph Contemporary in Stroud. The exhibition will run from 7 February to 22 March 2025, offering audiences an opportunity to consider Davison’s distinctive exploration of the natural world.

 

 

 

 

Born in Worstead, Norfolk, Bob Davison’s artistic journey began with a desire to become the best romantic landscape painter in the country, inspired by his Norfolk roots. His early work leaned heavily on the traditions of artists like Cotman and Turner. However, as he progressed through formal education—first at West Surrey College of Art and Design and later at Chelsea School of Art—his approach shifted.

 

“The grammar of art and painting,” he reflects, “introduced me to new perspectives, particularly American abstract painting from the mid-70s.” Influences like Mark Rothko, Barnett Newman, and Frank Stella reshaped his understanding of form and perception. This transition led to his exploration of geometric abstraction, creating works with dual readings, where surfaces and spaces could be interpreted in multiple ways.

Davison describes his creative process as a journey. “You start with an idea, but as you go, something unexpected always happens. It’s like going for a walk—what you find along the way can be more interesting than what you set out to see.”

 

 

 

 

All of Davison’s works are created using acrylic paint, which he values for its versatility and durability. He also incorporates a unique Swiss acrylic that is re-dissolvable, allowing him to treat it like watercolour. “

They’re very transparent but have strong staining power

, and I like working on paper for its absorbency and flexibility,” he explains. “You can crop it down or collage it, though I don’t often do that, except during temporary stages.”

 

Davison favours high-quality mould made papers such as Fabriano Rosaspina or  Arches Lavis Fidelis, which provide a robust yet nuanced surface. His works range from small-scale pieces (10 by 8 inches) to large compositions up to two metres wide. While they often begin with dilute washes reminiscent of watercolour, they build up into thick, layered paint.

 

“There’s a contrast between quick, gestural marks and very deliberate, slow processes,” Davison shares. “It might look like it’s done quickly, but many of the works take a long time, with day-long gaps between stages. It’s a lot like printmaking—the layering and rethinking at every step.” This meticulous approach often blurs the line between spontaneity and planning, engaging the viewer with layers of meaning and detail.

 

His process covers every trick in the book, often including experimental and improvised techniques. A huge range of brushes and tools may be used to apply the paints. Paints are applied in washes, glazes and impasto. Various mediums and pigments are employed.Paint may be brushed, sprayed or erased. Surfaces may be built up slowly and meticulously - or taken out of the studio to be hosed down outside. These methods produce complex surfaces that invite prolonged observation. “The longer you look, the more you see,” he notes.

 

 

A Career of Milestones

 

Davison’s career spans decades and reflects a dedication to both practice and pedagogy. After completing his studies, he was awarded a Fellowship at Cheltenham School of Art, a role that allowed him to refine his artistic voice while mentoring emerging talents. This residency marked the beginning of his exploration into the dual roles of creator and educator.

 

In 1981, Davison moved to London, where he balanced part-time teaching with work at prestigious galleries such as Waddington’s and Alan Cristea. His roles included curating, hanging exhibitions, and working closely with collectors, which exposed him to a wide array of artistic styles and practices. “I probably saw more art than anyone else during that time,” he recalls. “Handling works by renowned artists, even in their unfinished states, taught me so much about process and experimentation.”

 

This period was instrumental in solidifying Davison’s reputation within the art world. His deep understanding of painting and his meticulous eye earned him roles as an advisor to private collectors and corporations, including Simmons & Simmons and the Bank of Switzerland.

 

Exhibition opportunities soon followed, with Davison’s work displayed in esteemed venues such as the Royal West of England Academy in Bristol, the National Botanic Gardens of Wales, and the Museum in the Park in Stroud. His paintings have found homes in public collections, including Gloucester Royal Hospital, and are featured in numerous corporate and private collections across the UK and beyond.

 

 

 

Now retired from teaching, Davison devotes himself to painting full-time. His studio, surrounded by a garden brimming with specimen trees and unusual shrubs, remains a sanctuary for experimentation and reflection. “The garden is a constant source of inspiration,” he notes. “It’s a living vocabulary of shapes, patterns, and colours that evolve with the seasons.”

 

For Davison, art is not about fitting into a category like abstract or figurative but about exploring how we see and experience the world. His upcoming exhibition, About Looking, encapsulates this ethos with works that challenge perception and reward close observation.

 

As he puts it: “It’s all about looking and seeing—truly seeing—and discovering how rich and surprising (and complicated) that experience is.

 

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ABOUT LOOKING, Bob Davison at Aleph Contemporary in Stroud.

7 February to 22 March 2025

Open Friday & Saturday 10-4 and other times