Paintings of mountains, snow scapes and glaciers.
Oil on Linen 100 H x 148 W x 3.7 D cm 2023
Oil on Linen 210cm by 150cm 2011
Oil on Linen, 130x160cm, 2023
Oil on Linen 180cm by 130cm 2010
Oil on Linen 180cm by 150cm 2016
The painting came about after a visit to the region of Meteora in northern Greece. Meteora is a natural formation of rock pinnacles. Many of these rock pillars have monasteries on the top of them. The place has been a spiritual retreat and haven for centuries where monks have sought solitude and refuge from the world in order to preserve high spiritual knowledge. Upon visiting the place it was impossible to not be moved by the immensity of natural flowing energy the place emits. This painting is my attempt to record all this landscape of monolithic rocks and fins some way to render in painting their spectacular monumentality. The rocks themselves are formed as conglomerates of many other smaller different types of rocks. In this collection of difference of forms I have sought to depict the perfection that is the truth of the place.
Oil Painting on linen
100 H x 153 W x 3.7 D cm
Oil Painting
Size: 61H x 76 W x 2 cm
The mountain, Chamlang in the Nepalese Himalayas, near Makalu is depicted in this painting. It lies in the southern section of the Mahalangur subrange of the Himalayas. Chamlang has an elevation of 7,319 metres (24,012 ft). The mountain is wreathed in ring of clouds giving it an other worldly presence and majestic beauty.
Oil on Linen 70cm by 50cm 2009
Oil on Linen 70cm by 60cm 2010
Oil on Linen 150cm by 120cm 2008
Size: Original diptych double canvas oil painting in oil 130cm by 160cm
(Each panel - 130cm x 80cm x 4 cm)
This is a fictional painting of the Tianzi Mountains which are located in Zhangiiajie in the Hunan province of China, close to the Suoxi Valley. Tianzi means son of Heaven and is the traditional epithet of the Chinese emperor. These mountains have traditionally been the most important source of inspiration for Chinese landscape painting. I have chosen to paint these fantastical mountains with deep fjords cutting through their rock spires to create a hybrid style of painting referencing European romanticism and Chinese watercolour scroll paintings. The painting is executed in stippled monochromatic tones of Prussian blue. Prussian blue, was a colour newly introduced by the British to Asian artists in the late 19th Century. By using this colour I am commenting on the continued cross pollination of artistic styles and philosophy in the ongoing exchange between the west and the east. Which leads to harmony and compassionate care for our most treasured natural wonders.
Oil painting on linen
Size: 130 H x 200 W x 3.6 cm
A ghostly image of the Goddess of the White Mountains stares out from the Bavarian landscape of the summit of Hoch Kalter, (High Cold mountain). I climbed this mountain alone in the late winter of 2010 it was one of the most rewarding and spiritually enlightening ascents I have made. The face of the woman represents all that is at stake by being alone in such a place and that one must return at all costs, to the love and companionship of those most dearest. These thoughts were naturally in the forefront of the my mind at the moment of summiting. The female face as an avatar of the Goddess Sophia, the Aeon of Wisdom and the earth. Her presence embodies terrifying sublime beauty that I was persuing during this adventurous quest . It's therefore only natural that she should be interwoven into the landscape of this view point.
Oil on Linen 100cm by 80cm 2008
Oil on Linen 15cm by 10cm 2012
122cm by 190cm Oil on Linen 202013
Oil on Linen 210cm by 150cm 2010
Oil on Linen 2009
Oil on Linen 2021
Paintings of mountaineers, climbers and explorers in dangerous environments
Oil painting on linen and wooden panel, Size: 41 H x 51 W x 2 cm.
Prayer flags blow in the wind and break apart literally in the brush strokes. These link and act as ceremonial reminders of the real world of family, friends back home and what is at stake in the spiritual ladder world. Puja ceremonies are conducted to appease the mountain deities and bring safe passage whilst scaling the mountain goddess.
Paintings with sampled sections of other artists works. Collaged romanticism, and unusual visual phenomena from nature.
Ravine features portions of landscapes from two romantic paintings, The Chalk Cliffs at Ruggen, and Rocky Ravine. The lower portion depicts an aerial photographic view of the surface of a glacier with crevasses. Skylines from existing works serve to create a new foreboding vignette of heightened emotion. The feelings of giddiness one sometimes feels whilst looking down at precipices were the inspiration for the painting.
Size: 117cm by 117cm, Original Painting: Oil on Linen.
Looking up from the summit of the Berchtesgadner Hochthron on the Untersberg Mountain near Salzburg. The act of searching for meaning in a landscape seems to render the place meaningless by the very act of analysis. One is left with only what is there, natural, physical phenomenon, like snow, clouds ,and ice particle's which refract light in a mathematically predetermined way. Perhaps this system of natural patterns is all the meaning one can hope for in the picture plane. The painting is meaningless but meaning is not lost. An original oil on linen painting, the work has been signed by the artist.
Original diptych double canvas painting in oil
(Each panel - 129cm x 81cm x 4 cm)
The Tianzi Mountain is located in Zhangiiajie in the Hunan province of China, close to the Suoxi Valley. Tianzi means son of Heaven and is the traditional epithet of the Chinese emperor. These mountains have traditionally been the most important source of inspiration for Chinese landscape painting. I have chosen to paint these fantastical mountains with deep fjords cutting through there rock spires to create a hybrid style of painting referencing European romanticism and Chinese watercolour scroll paintings. The painting is executed in stippled monochromatic tones of Prussian blue. Prussian blue, was a colour newly introduced by the British to Asian artists in the late 19th Century. By using this colour I am commenting on the continued cross pollination of artistic styles and philosophy in the ongoing exchange between the west and the east. Which leads to harmony and compassionate care for our most treasured natural wonders.
Original Painting: Oil on Linen, Size: 30 H x 40 W x 2 cm.
Ravens circling a mountain top in mythology symbolise a sleeping king within the mountain waiting to rise when the country is in peril to save the nation.
Original Painting: Oil on Linen, Size: 30 H x 25 W x 2 cm.
On the Summit of the Wetterhorn is an imagining of the celebrated legend of alpinism where the party summit the peak and plant a spruce tree on its summit. The Wetterhorn, in the Swiss Alps close to the village of Grindelwald, was first climbed in 1844, although the ascent by Alfred Wills and party in 1854 is the more celebrated, and is generally regarded to have marked the beginning of the golden age of alpinism. As with much of his other work, Alexander Heaton incorporates runic symbolism into this piece, here evoking primitive emotions of conquest and awe as man confronts the power of the natural world.The mountain is composed of three distinct peaks that lie close together: the Wetterhorn (most visible from Grindelwald), the Mittelhorn (the highest) and the Rosenhorn. Winston Churchill climbed the Wetterhorn in 1894. The summit rocks were the intended terminal for the world's first people-carrying aerial tramway, but only the first quarter section of the lift was built. It was in operation until the beginning of World War I.
Paintings of forests and dark foreboding undergrowth.
Size: 78cm H x 70cm W x 3cm, Oil on Linen.
The old english oak is a symbol of home and this land. In this series of paintings of the same oak stages of its life are shown. Its has firstly been struck by lightning and caught fire on the inside. This has however not killed the oak entirely. The tree has endured this blasting and lived on. There is great hope in the branches of the tree and its tormented forms take on new character and offer as a metaphysical symbol of hope in our own life, no matter what may come to pass we will always strive to endure and live on. Scars define our own unique character and become the spirit of our natural personality.
Size: 78cm H x 70cm W x 3cm, oil on linen.
The old english oak is a symbol of home and this land. In this series of paintings of the same oak stages of its life are shown. Its has firstly been struck by lightning and caught fire on the inside. This has however not killed the oak entirely. The tree has endured this blasting and lived on. There is great hope in the branches of the tree and its tormented forms take on new character and offer as a metaphysical symbol of hope in our own life, no matter what may come to pass we will always strive to endure and live on. Scars define our own unique character and become the spirit of our natural personality.
Paintings from Alexander Heaton’s first solo art show. The exhibition is named after the Matterhorn, a mountain in Switzerland.
Oil on Linen, 25cm by 25cm by 2cm.
A dolmen or cromlech is a type of single-chamber megalithic tomb, usually consisting of two or more vertical megaliths supporting a large flat horizontal capstone or "table". They can be found throughout northern Europe and are evocative of the mythic past. The northern lights in this small study symbolise spirits rising to the heavens. A dolmen is a type of single-chamber megalithic tomb, usually consisting of two or more vertical megaliths supporting a large flat horizontal capstone or "table". Most date from the early Neolithic (4000–3000 BCE) and were sometimes covered with earth or smaller stones to form a tumulus. Small pad-stones may be wedged between the cap and supporting stones to achieve a level appearance. In many instances, the covering has weathered away, leaving only the stone "skeleton" of the mound intact. It remains unclear when, why and by whom the earliest dolmens were made. The oldest known are found in Western Europe, dating from c 7,000 years ago.
Original Painting: Oil on Linen.
This work comments on feelings anxiety and fear currently in western society. Space its self seems to be being torn apart and the space is entirely surrounded by gnarled tree roots commenting on the complicated structure of consciousness. Two ravens circle a figure dressed in a black fetish jacket. The central figure's identity is deliberately ambiguous commenting on perceived notions of "others" or "outsiders" in society. The work was inspired by costumes and collages of images from magazines. The viewer is invited to take a fascinated look at the slick surfaces that the glossy and matt paint evoke and suggest.
Painting
Size: 107 H x 71 W x 4 cm
This work is a response to the sub culture of fetish and sadomasochism. A horned raven is seen to morph with a human form. This could be an alter ego, disguise or fantasy. There is deliberate ambiguity as the wether the creature is feeding on its prey or devouring in an act of mating. The work was inspired by costumes and collages of images from magazines. The viewer is invited to take a fascinated look at the slick surfaces that the glossy and matt paint evoke and suggest.
Original Painting: Oil on Linen.
The work is a response to the sub culture of fetish and sadomasochism. A Valkyrie stands before a triskelion. The three legs are known in Manx as ny tree cassyn ("the three legs"). The triskelion is an ancient symbol, used by the Mycenaeans and the Lycians. This could be an alter ego, disguise or fantasy. The work was inspired by costumes and collages of images from magazines. The viewer is invited to take a fascinated look at the slick surfaces that the glossy and matt paint evoke and suggest.
In Norse mythology, a valkyrie (from Old Norse valkyrja "chooser of the slain") is one of a host of female figures who choose those who may die in battle and those who may live. Selecting half of those who die in battle, the valkyries bring their chosen to the afterlife hall of the slain, Valhalla, ruled over by the god Odin (the other half go to the goddess Freyja's afterlife field Fólkvangr). There, the deceased warriors become einherjar (Old Norse "single (or once) fighters"). When the einherjar are not preparing for the events of Ragnarök, the valkyries bear them mead. Valkyries also appear as lovers of heroes and other mortals, where they are sometimes described as the daughters of royalty, sometimes accompanied by ravens and sometimes connected to swans or horses.
Size: 76 H x 86 W x 2 cm
This painting is juxtaposition of rubbish bags, rubber gloves, and shamanic patterns with the Himalayas across the centre. The painting is a comment on the littered quality of some pristine environments. Although the waste could be deemed ugly it serves to remind us of the utility of mans desire to overcome all terrain, but at what costs?