White Peony is a large-scale still life painting, depicting a white tree peony emerging from a deep, near black background. The layers of oil glazes create a rich texture, with the soft white paint capturing the velvety texture of the petals, reminiscent of the sensual feel of the flowers. The bold, rich layers, built up over time using semi-translucent glazes, stand out against the smooth dark background in a bold, dynamic fashion. The centre of the flower exaggerates the sensual energy certain flowers and botanicals emanate, with petals folding to suggest sapphic imagery for those who wish to see it.  I use minimal pigments in my work, mixing the tones from just a few base colours to create a consistency and complementary palate that is calming, and soothing on the eye. The depths of tone create a feeling of depth, movement and texture.  Through my painting I continue to study our connection with natural forms, in particular during times of growing concern and awareness of climate change and the impact this has on our mental health. I am also drawn towards exploring the sensual and sapphic nature of florals in particular, and the way certain botanicals encourage an erotic response from our senses. Tree peonies are associated with feminine strength in traditional Japanese art and culture, and by painting them in a large scale format this is lifted to a powerful expression. The piece is created to be hung unframed. The canvas is 2cm deep, with all edges smoothed off in the deep blue-black of the background. Canvas measures 100x100cm.

Dom Holmes

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My paintings are primarily concerned with themes of nature, in particular as a vehicle for exploring spirituality, identity and ego. My work is constantly developing through different techniques, methods and inspirations; my oil painting practice evolved from a period of self-directed study beginning in 2017, and has led me to my principal focus of traditional fine art methods of painting and print-making, and subverting lowbrow art forms inspired by their career in tattooing and design. My strong ongoing interests lie in minimal colours, depth and darkness, ego and sensuality. I collect images and references from my local environment - from community planters, neighbourhood gardens, open spaces, council-run parks, roadsides and windowsills - and elevate them in extreme close ups and large-scale depictions against deep, dark backgrounds to highlight the value and importance of local, seasonal wildlife and community in times of climate crisis. My home city of London is an important influence to my chosen subject. My pieces are built up with multiple layers of oil glazes using minimal pigments and tones, culminating in a velvety surface interrupted with purposeful, smooth brush strokes. The close-cropped compositions determine the power and strength held by the subjects often considered soft and delicate. The evolution of the colour schemes and textures is allowed to emerge naturally through the layering of glazes, and subtle abstractions evolve organically from the figurative depiction. The final layers determine and solidify the textures, mood and depth.  My approach to my paintings is inspired by a diverse roster of creatives and movements that testifies to my passion for art history, including (but not exclusive to) Carravagio, Eugene Delacroix, Ernst Haeckel, Hokusai, and Georgia O’Keefe amongst many others.