Paul Martin

My first memory of standing stones was visiting Stonehenge as a child and walking amongst its mighty columns but I only started to look at and experience them in my 40's when I came across Lanyon Quoit and the amazing Men-an-tol in Cornwall.

My work is not particularly representational of specific stones but I try in my studio work to distil the feelings particular groups engender in me. Work in situ can be fairly realistic, information gathering using pencil, charcoal, oil pastel, watercolours or oil paint writing. However, to get in tune with a particular place can take many visits, lots of looking and listening and time just sat absorbing the atmosphere, letting it speak to you instead of imposing a pre-conditioned response to it. I have noticed, especially in popular sites such as around Carnac in France, that visitors are so noisy and busy bringing themselves to the place that they don't let the place affect them. I sometimes sit quietly for several hours until I become aware of all the different types of plants, trees, leaves, insects, butterflies, birds and the colours, shapes, patterns and sounds. It takes time, but if you can give it that time you can tune into the place and the rewards can be great both artistically and personally.

My work with standing stones is an ongoing exploration....