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 human perception of landscapes. 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 immerse themselves in Davison’s distinctive exploration of the natural world.
A Journey from Romanticism to Abstraction
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.
A Process Rooted in Experimentation
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 stainy, and I like working on paper for its absorbency and flexibility,” he explains. “You can chop it down or collage it, though I don’t often do that, except during temporary stages.”
Davison favours high-quality papers such as Fabriano 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.
The Influence of Nature and Science
Davison’s art mirrors his lifelong interest in science and the natural world. Whether walking through the garden he tends with his wife Lucy or birdwatching along the Severn River, he finds inspiration in the interplay of structure, colour, and contrast.
His paintings often begin figuratively, drawing from the textures and colours of Cotswold landscapes or the patterns of garden borders. However, as he delves deeper into the process, the recognisable gives way to abstraction. “I aim to present what I see in a way that feels truer,” he explains, “even if that means depicting shadows as solids or creating juxtapositions that challenge expectations.”
Art as a Journey of Discovery
Davison’s creative process is as much about discovery as observation. “It’s like walking,” he says. “You start with a destination in mind but often find something unexpected along the way.” His method involves working in series, allowing one piece to inform and challenge another. This iterative approach creates space for happy accidents and new directions, often producing striking combinations of colours, marks, and forms.
“I like work that takes time to read,” he shares. “In today’s world, where we consume so much so quickly, it’s rewarding to create something that unfolds over time.”
A Life in Art
Davison’s career spans decades and is marked by notable milestones. After completing his education, he became an artist-in-residence at Cheltenham School of Art, later moving to London, where he balanced part-time teaching with working in galleries such as Waddington’s and Alan Cristea. These roles exposed him to a vast array of art, influencing his practice and establishing him as a respected figure in the art world.
His works have been exhibited widely, from the Royal West of England Academy in Bristol to the National Botanic Gardens of Wales. Public collections, including Gloucester Royal Hospital and various corporate and private collections, feature his art.
Looking Ahead
Now retired from teaching, Davison devotes himself to painting full-time, finding joy in the freedom to explore his creative impulses. His studio, surrounded by the garden he cherishes, 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, the act of creating is a dialogue between observation and imagination, rooted in a deep appreciation for the natural world and the complexities of human perception. Through his work, he invites viewers to slow down, look closer, and see the world anew.
With About Looking opening at Aleph Contemporary, visitors can expect an exhibition that exemplifies Davison’s unique approach to abstract naturalism in art with the subtle interplay of observation, abstraction, and the fleeting beauty of the natural world.
