Thinking about Tate Modern’s initial partitioning of the resident collection into the classic genres of land/body/object, I’d think of my own work, despite its intended autonomy, in relation to land.


Bristol, where I have a studio, is a city of demarcations – between urban and pastoral, and city and sea. The penetration of nature into its urban centre is one of the city’s chief characteristics, and in turn I think it permeates my painting.

Stewart Geddes HRSA is interested in the way abstraction focuses attention on the formal properties of surface, colour and shape, yet at the same time can set up something that reminds the audience of the character of certain landscapes.