Signed Limited Editions from the Blue path 2020 exhibition
The Winter 2020 marks the twenty fifth anniversary of the creation of paintings that would become known as the Blue Path Collection. Created by the English International Artist Denis Taylor.
It was an art exhibition that was first mounted in Stockholm Sweden in 1996 and consisted of some 32 water colours and a number of large oil paintings. Subsequently the Blue Path was exhibited three more times in the UK and Sweden, the last being 2007 in Manchester UK.
They are now available as Signed Limited Editions framed high quality giclée reproductions, printed in Sweden and framed with an Oak wooden frame with a passépartout. These limited signed reproductions are limited to 20 issues from each image and the cost is £245 each complete the form below quoting the reference from the catalogue (artworks one to ten)
Catalogue for the exhibition is below: Tip…click on the angled arrows to the right of the green background to go to full screen:
Here is part of an interview given by the artist in Manchester 2007 at a retrospective exhibition (the last time the Blue path was exhibited).
How did the Blue Path paintings came about ?
“…the Blue path came about after I had visited with my girlfriend (Marianne) who lived in Stockholm, in a City apartment. I came over from Greece, where I had my studio. I was invited to exhibit two exhibitions of my [Greek] work in Stockholm City. The shows ran for three weeks which meant spending a lot of time in the large Swedish Capital, which was Ok but, became too much for me. I’d escaped the big city life in Manchester, many years before and had rejected it for the solitude.”
How did you get to Vaxholm and start this project?
Luckily, Marianne exchanged her apartment for one on an island [Vaxholm] – And I was happy for us to stay there, while continuing to exhibit in Sweden. We had planned to return to Greece and my Studio villa. So staying in Vaxholm was a compromise for me to extend my time in Sweden and mount more exhibitions. Neither I nor Marianne really knew if it would work out.
The first obstacle to overcome was the lack of studio space available in the small archipelago town. The local artists community rather suspicious of outsider artists (especially non-Swedes) But I needed to paint. (perhaps only painters will understand that overpowering need ?).
Why did you decided on water colour paintings?
After some thought I decided to treat the lack of studio space as a positive outcome. By chance I came across a great art book from the Vaxholm library I had strayed across. The book was the complete (lifetime) watercolours of J.M.W Turner. This gave me the inspiration and the idea to start a series of water colours based on the beautiful environment that I had moved into.”
What music did you listen to?
“I went for the Classic, four seasons, by Vivaldi, it seemed appropriate.”
How did you decide where to start?
Marianne had shown the area on the Vaxholm island, so I started there on a place called Ekrisö – This led on to another strip of land called Bogusund. I was really taken with the peace, quiet and the simple beauty of the colour contrasts of sky, water and land.”
How did the name ‘The Blue Path’ come about?
“the name ‘Blue Path’ was the first thing I wrote in in my sketch book on the first day of my solo walks. The name derived from the way the community had this idea to mark paths in the archipelago with a colour code (to avoid people getting lost or of overtaxing themselves I guess). Yellow was a short walk. Green was a medium walk and Blue was a long walk. Initially I followed the path marked out (on the trees) with a blue circle of paint. The original title for the completed project sort of stuck.”
How did your process progress?
“I read that Turner book voraciously. It was a full explanation of how he painted watercolours. The essence of which was to make quick topographical sketches and then develop these with pure imagination whilst painting. Turner would prepare four or five mounted edge fixed paper supports on board and start the process by laying in a base colour that would dictate the time of day, the weather and so on. He kept creating his water colour paintings of a specific size and style. The small kitchen table in the new apartment Marianne and I had moved to would prove to be the ideal space to create this type of work.
You painted 32 watercolour up to 2005 – why did you stop?
“Honestly, I became tired from too much of a good thing and needed a challenge. I’d made a friend with a younger man who like me, was a stranger in the Town. He wanted to live in an apartment – which was literally around the corner from where Marianne and I stayed. But the rent was a little too much – So, I offered to pay one third of it if I could use the large bedroom as a studio – I needed to paint in oil again. Thankfully he agreed in around the end of April – and I used the studio when I wanted from May 1995 on wards.”
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