'The mood and mystery of the English landscape is not lessened for me by the impact of human existence within it but rather assumes a unique reality as a result.
The patterns of the past still feature strongly in the British countryside creating in combination with hills, fields, woods, roads and dwellings a 21st century visual richness.
Revisiting during the last two years the landscapes which inspired me as a student, in the 50's and early 60's, I have been surprised by how little seems to have changed. Indeed, in some instances nature seems to have re-established a deeper wildness and fecundity.
The lakes, ponds, rivers and streams are scintillatingly woven into the wide contemporary tapestry of the English countryside reflecting the fitful light of the seasons. In the countless stretches of still water nature is as if narcissistically a mirror image of itself and everywhere the scene is punctuated by the animated presence of birds, animals and plants in the natural immanence of their being.
Paradoxically, I feel time protecting its own history by the slow erosion of the visual evidence of the past and that this leaves a palpable yet uncanny vacuum behind the details of the land observed and studied. So there remains independent of reality a sense of place and a deeply mythic intensity of mood incapable of rational explanation but which I believe might be expressed as the essence of the "Englishness" I am attempting to realise in the New English Series of small paintings.'
Keith Grant, Gvarv, March 2017