Graeme Webb Art

In my earlier article, Chance Aesthetics in Art, I explored how randomness, unpredictability and external forces can become helpful creative tools rather than obstacles. Chance techniques question traditional control and authorial intent, shifts attention from outcome to process, and opens the work to collaboration with chaos and happy accidents. I also provided links to historical and contemporary examples such as Surrealist automatism and Dada strategies, all of which demonstrate how chance can expand creative thinking and visual language. That article from May 2025 can be read here.

Some of my early CGI inkjet images from 1996. I created a grey scale bitmap scanned from a 19th century medical illustration of the head, Stomach and ribcage and imported it into the Bryce landscape rendering engine with tiled metallic textures scanned from real world oxidised copper. Rendering times around 18 hours on a G3 Macintosh.

Recently I came across this article from theater set designer, teacher and author David Neat on my 'Bleak House and Other Places' project from around 2014.

Several years ago I investigated the processes of Lumen prints and Chemigrams. This is the first of two guides this one features Lumen prints. (all the above prints were completed during 2020/2021 individual print size 10"x8").

This review is about the 2016 version of the book

Earlier this year when I was researching natural pigments made from vegetables and fruits I came across Lucy Mayes who has an interesting slant on the making of pigments. her choice of raw materials and process is genuinely special something that sits right at the intersection of art, geology, history and a bit of urban magic. It’s called London Pigment, and it’s the ongoing project of artist and pigment maker Lucy Mayes, who has been quietly transforming the city’s raw material into a unique range of hand crafted pigments.

This is a companion piece to Work in progress - Oil and Cold Wax.

So here's the thing, there’s this podcast called Club Eclectica, hosted by Michael Hallinger (known to his friends as @tintinfellow on Instagram), it’s great if you like variety in your podcast listening. Each episode’s completely different, one week it might be about art or music, the next it’s about subcultures, fashion, or something really unexpected. Michael brings on guests who actually live what they’re talking about people who are experts, artists, collectors, or just fascinating and interesting people.

Hieronymus Bosch was a Dutch painter from Brabant. He is one of the most notable representatives of the Early Netherlandish painting school. His work, generally oil on oak wood panels, mainly contains fantastic illustrations of religious concepts and narratives.

This painting is part of my 'Layers of Earth and Light' series, similar to the previous painting, it’s a 30x30cm piece made with oil and cold wax. I wanted it to feel like a landscape without really being one, more a memory or a feeling of place than something specific you could point to on a map.

There’s something really enjoyable about working with cold wax and oil paint on a landscape. It’s all about texture and surface, dragging a palette knife through those warm browns and ochres, softening the edges with a creamy mix of wax and pigment, and watching a horizon slowly appear on the taped square on the easel.

Last Vestiges is a project that was (and is) very close to my heart, and it came about almost by accident. Back in 2016 I found an old Polaroid (The Impossible Project)* I’d thrown away months earlier. It had been rained on, baked in the sun, attacked by mould, and half buried in the garden. When I picked it up again, it looked nothing like the picture I’d originally taken. The emulsion had blistered, scarred, and taken on these eerie textures. When I scanned it at high resolution, I suddenly saw strange new landscapes inside it, skies that reminded me of Turner paintings, folds like crumpled silk, and ghostly horizons. That discovery became the seed for 'Last Vestiges'.