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 human 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.

 

 

 

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 mould made papers such as Fabriano or Levis 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.

 

 

 

Whether walking through his garden or birdwatching along the River Severn, Davison finds endless inspiration in the natural world. His paintings are rooted in observation—of shadows, patterns, or unexpected contrasts. “I once drew the shadow of an acanthus leaf instead of the leaf itself,” he recalls, “and then made it look slightly three-dimensional. It’s a form, but not one you can quite place. Is it solid or not?”

 

His process often includes experimental techniques, such as sprinkling titanium white powder over transparent medium or working with graphite powder to create textures. These methods produce complex surfaces that invite prolonged observation. “The longer you look, the more you see,” he notes.

 

 

 

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.”

 

He also draws a parallel between his method and the work of Kenneth Martin, a British systems painter known for incorporating chance into his practice. “I once asked him how he chose which works to develop into prints,” Davison says. “I expected a technical answer, but he simply said, ‘Choose the ones that look good.’ That stuck with me. There’s always a rationale, but sometimes you just have to go with what feels right.”

 

 

 

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.