"Clouds Over The Sea"
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Some budding artists travel far and wide to seek fame and fortune. Not so Paul Corfield, who has steadfastly remained within a 10 mile radius of his Dorset birthplace his entire natural. Born in Bournemouth in 1970, Corfield can’t recall the precise moment that his love affair with art began, but he can remember as a youngster displaying borderline OCD when it came to recreating every exact detail and design nuance of an inanimate object, and would consequently be very hard on himself if he failed. Only recently has he declared that he’s become liberated from these creative shackles and evolved to feel like the artist he aspired to be. Indeed, Corfield’s journey – despite being a geographically short one – has been a long and at time, torturous one from an emotional viewpoint. Reverting to his passion for the intricacies of detailed artwork delivered with a realist’s edge, Corfield spent the next 3 years manufacturing highly elaborate pieces, which he classifies as ‘contemporary realism’ or ‘photorealism’, to coin a phrase and generally perceived genre. Success soon arrived, and it wasn’t long before Corfield’s work was being exhibited to massive audiences in both the UK (notably London) and further a field in America. All the while in the background, Corfield was labouring away on a concept that would evolve into more widely recognisable landscape studies, examples of which we observe in his most recent compositions, however he toyed with this concept for in excess of a year before being provided with the opportunity to develop it. That was in direct response to him having forwarded his ideas to Washington Green, who themselves saw the potential and the natural evolution in Corfield’s work. For the first time the artist felt sufficiently emancipated from his own self-imposed restraints to create more fluid, freer flowing brush strokes, with greater emphasis placed on movement and rapidity of thought, and to embrace the confidence to float off into the realms of fantasy once in a while, rather than be constrained by this dogged adherence to linear lines which had characterized his earlier works