Paul Corfield

Emerald Mist by Paul Corfield
Summer's End by Paul Corfield
Closing of The Day by Paul Corfield
The Great Outdoors by Paul Corfield
The Coastal Trail by Paul Corfield
Paradise Bay by Paul Corfield
Sunburst by Paul Corfield
Orange Dawn by Paul Corfield
When The River Meets The Sea by Paul Corfield
Mornings Misty Veil by Paul Corfield
Watching the Waves Roll In by Paul Corfield
Sailing Into The Sunset by Paul Corfield
Hues Of Gold by Paul Corfield
Our Place By The Sea by Paul Corfield
Born in Bournemouth in 1970, landscape artist Paul Corfield has never left his native Dorset coast behind, and he still resides there some 40 plus years later. Remembering a childhood affair with art that was only blighted by his insistence on making detail, detail and detail his primary concern at the expense of freedom, fluidity and expression, Corfield intended to broaden his artistic knowledge and skill-set by attending art college. Only that notion was short-lived, despite securing a place on a course, on account of his sudden belief that the onset of computer-generated art (emerging at the time) would render his manually-administered Technical Illustration attributes seemingly obsolete on graduating.

Instead, Corfield opted to join the employment gravy train (and develop and evolve his painting under his own steam in his spare time) and obtained work at an engineering company, where he stayed for the following 13 years; and the place where he met the woman who was to become his future wife, Sara. Major health scares and problems (diagnosis of a rare blood disorder) encountered by Sara in relation to childbirth, culminating in Sara suffering a stroke, understandably turned their new family life on its head, as Corfield faced up to the very real prospect of now having to dedicate his time to caring for his wife and newborn. Thankfully the marvels of modern medication meant that Sara staged a remarkable recovery after her ordeal, and the couple even went on to have a second child.

Corfield stresses that potentially life-changing events like that make people take stock of their daily and view the future in a different way than perhaps they did previously, concluding like so many do that effectively life is too short. Which is why the next unforeseen episode in Corfield’s life acted as a trigger mechanism that set in motion the cogs that eventually sees him where he is today. In 2002 the engineering firm that he worked for was making cutbacks and the opportunity for voluntary redundancies arose. Corfield elected himself and was accepted. His plan was to plough his redundancy package into his savings and essentially live off that for 12 months whilst he attempted to make a name for himself, and moreover establish a standard of living and quality of life, through his art. He recalls simply spending all that time painting. And painting. A gamble by anyone’s estimation, having the additional two young mouths to feed and clothe was considered a punt too far by certain friends and family members, who wasted no time in suggesting that no one could make a ‘living’ from art alone, and that he should not take the voluntary redundancy. Yet Sara backed her convinced and committed husband 100%, and undeterred by his detractors Corfield set about proving his doubters wrong, but more importantly making his art work for him and his family.

Suffice to say his unswerving ambition and dedication paid dividends, as he immersed himself in his personal art, where realism took centre stage and that highly detail-critical approach that chequered his formative art years once more came to the fore; yet with added commercial value this time around and when it mattered most. For the next 3 years Corfield applied himself to this genre which he dubbed, ‘contemporary realism’ or ‘photorealism’, and whatever label it had there was no denying that it met with universal approval and enthusiasm by the art fraternity in the UK and further a field. Corfield toasted success after his compositions were represented in both London and America

Yet almost simultaneously, Corfield was furthering an altogether new concept in what little spare time he had at his disposal, and that eventually metamorphosised into the typical landscapes that he produces these days and has become very much his visual trademark. This new direction was free of the shackles that had hindered his artistic growth prior, where structure and rigidity of finer detailing wasn’t the be all and end all, and with it came a greater sense of freedom and license to roam. Unfortunately, and despite playing around with the idea for in excess of a year, it remained on the back burner, yet was never forgotten about completely. As fate would have it, Corfield was made aware of fine art publisher, Washington Green, and he presented his new concept to them, who quite literally bough into the idea then and there. That was it, I was released, now I could paint real brush strokes instead of hiding them, I had the freedom to create; I could drift off into another world instead of living in a world of realism.

View All Art Works By Paul Corfield