Blue Sea

John Maclean

Blue Sea, 202330 x 24cmSign in to view price
Details
MaterialGallery
watercolor on boardThe approach
Description
Human-crafted. AI-refined.

This vibrant landscape painting features a striking use of bold, contrasting colors. The composition depicts a serene lake surrounded by rolling hills and mountains, rendered in a dynamic, expressive brushwork. The artist employs a palette of deep blues, vivid pinks, and earthy greens to create a dreamlike, almost surreal atmosphere. The style is reminiscent of expressionist and fauvist techniques, emphasizing emotional resonance over realistic depiction. This artwork likely aims to capture the artist's personal interpretation and emotional response to the natural scenery, inviting the viewer to immerse themselves in the captivating, imaginative landscape. ...

Similar Artworks
Night Time (As Seen by Sim Ouch)
Latifa Echakhch
Night Time (As Seen by Sim Ouch), 2022
200 x 150 x 2.6cm
Liz Phair ‘Parasite’ Butt Cake
Gina Beavers
Liz Phair ‘Parasite’ Butt Cake, 2020
76.2 x 76.2 x 10.2cm
DOKU - Animal - Bardo #3
Lu Yang 陆扬
DOKU - Animal - Bardo #3, 2023
120 x 120 x 5cm
The Four Seasons - A Benefit Painting of the  Hyde Park Art Center
Roger Brown
The Four Seasons - A Benefit Painting of the  Hyde Park Art Center, 1974
127 x 127cm
Seoul Bistro Fire Burger
Gina Beavers
Seoul Bistro Fire Burger, 2020
40.6 x 40.6 x 10.2cm
Mask for a Waitress
Roger Brown
Mask for a Waitress, 1974
129.5 x 24.4 x 33cm
Cake
Gina Beavers
Cake, 2015
40.64 x 40.64cm
DOKU PsyFi - Asura 2
Lu Yang 陆扬
DOKU PsyFi - Asura 2, 2023
210 x 140 x 15cm
A fine rain is falling, the skin has goosebumps. Rub the arms to warm them up and then start running again
Latifa Echakhch
A fine rain is falling, the skin has goosebumps. Rub the arms to warm them up and then start running again, 2019
200 x 150 x 2.5cm
DOKU_Hell_2020_1
Lu Yang 陆扬
DOKU_Hell_2020_1, 2020
150 x 97.5 x 5cm
Untitled
Roger Brown
Untitled, 1968
58.3 x 44.4cm
Applying lipstick on heart shape lips
Gina Beavers
Applying lipstick on heart shape lips, 2021
121.9 x 81.3cm
The Dark Days
Latifa Echakhch
The Dark Days, 2024
206 x 156 x 3.5cm
Sun Set Down
Latifa Echakhch
Sun Set Down, 2022
200 x 150 x 5cm
DOKU Heaven - God Mode
Lu Yang 陆扬
DOKU Heaven - God Mode, 2024
Liz Phair ‘Parasite’ Eye
Gina Beavers
Liz Phair ‘Parasite’ Eye, 2020
76.2 x 76.2 x 10.2cm
Untitled
Harold Ancart
Untitled, 2021
49.23 x 64.47cm
tableau russe_11
Thomas Ruff
tableau russe_11, 2022
255 x 185cm
Keratoconus vibes
Issy Wood
Keratoconus vibes, 2024
30 x 30 x 2cm
Omens and Wishes
Mike Kuchar
Omens and Wishes, 2018
81.5 x 62cm
False Image Decal ("Artist")
Roger Brown
False Image Decal ("Artist"), 1969
15.24 x 24.13cm
zehnterjulizweitausendundvierundzwanzig
Ugo Rondinone
zehnterjulizweitausendundvierundzwanzig, 2024
27.9 x 40.6cm
Old Buses Don't Die 老巴不死
Yeung Hok Tak 楊學德
Old Buses Don't Die 老巴不死, 2020
76.2 x 60.9cm
White Woods
Artist
John Maclean

Maclean studied at the Royal College of Art in the mid-90s under contemporary British painters such as Chris Ofili and Peter Doig, however his other interests took him in the direction of a career in music and film making. With his film projects on hold during the pandemic and needing a creative outlet for his ideas, Maclean returned to painting after a twenty-year hiatus. Landscapes seemed to be an obvious subject matter for Maclean to work with; growing up in the Scottish Highlands surrounded by dramatic, almost romantic, surroundings, he always had a strong relationship to the natural environment. Landscapes also play a central role in his films: in Slow West, the film Maclean wrote and directed in 2015, and with his forthcoming feature-length project Tornado, the landscape is framed as a protagonist – the same can be said for his paintings, where he foregrounds mountain ranges, trees, rivers, valleys, snow scenes, hills and fields. Maclean enjoys that there is something both generic and specific in the landscapes that he chooses to paint; narratives within the work are elusive and open-ended, allowing the viewer to project their own memories and associations onto the work. In this latest series, there is perhaps more specificity of location, indicated by titles such as America or in depictions of Egyptian pyramids, tropical jungle scenes or when Maclean drifts between seasons, yet the scenes still feel ubiquitous, familiar and easily relatable. Maclean finds his source material (the landscape postcards) via deep-searches online, translating the image directly from his computer screen as he paints onto board. Maclean was drawn to the inconsistency of these vintage postcards, which are often poorly printed in black and white, hand-tinted in unnatural hues and out of register – both painterly and photographic, but lacking authenticity. Maclean enhances or saturates the colour of the original images, preferring to focus on tone over colouration to create textural and dynamic surfaces, a technique borrowed from his film-making. He begins with a small colour detail that ultimately informs the rest of the painting, emanating outwards like a psychedelic hum, edges softening within the painting. This gentle intensification of colour disrupts the naturalness of the landscape scene, placing it at odds with the artificiality of the palette, evoking the slippage of authenticity found in the postcards themselves. ...

John Maclean: Artworks
Valley
Muddy Field
John Maclean
Muddy Field, 2023
30 x 24cm
Silver Lake II
John Maclean
Silver Lake II, 2023
30 x 24cm
Rock Forest Road
John Maclean
Rock Forest Road, 2023
30 x 24cm
America
John Maclean
America, 2023
30 x 24cm
Path
Silver Forest
John Maclean
Silver Forest, 2023
30 x 24cm
Village
John Maclean
Village, 2023
30 x 24cm
Snow gate
John Maclean
Snow gate, 2023
30 x 22cm
Waterfall 1
John Maclean
Waterfall 1, 2022
30 x 22cm
Reflection
John Maclean
Reflection, 2022
30 x 22cm
Silver Ghost Waterfall
John Maclean
Silver Ghost Waterfall, 2022
30 x 22cm
Violet Snow
John Maclean
Violet Snow, 2022
30 x 22cm
Snow Cap
John Maclean
Snow Cap, 2022
30 x 22cm
Bricks and Trees
John Maclean
Bricks and Trees, 2022
30 x 22cm
Night Farm
John Maclean
Night Farm, 2022
30 x 22cm
Orange Porch
John Maclean
Orange Porch, 2022
30 x 22cm
Country Rain
John Maclean
Country Rain, 2022
30 x 22cm
Red Pine Tree
John Maclean
Red Pine Tree, 2022
30 x 24cm
Number 1
John Maclean
Number 1, 2024
50.7 x 43 x 4cm
Number 5
John Maclean
Number 5, 2024
50.7 x 43 x 4cm
Number 9
John Maclean
Number 9, 2024
50.7 x 43 x 4cm
Blue Sea
John Maclean
Blue Sea, 2023
30 x 24cm
Rock Forest Road
John Maclean
Rock Forest Road, 2023
30 x 24cm
Depot I
John Maclean
Depot I, 2023
30 x 24cm
Silver Lake II
John Maclean
Silver Lake II, 2023
30 x 24cm
Path
Winter Stream
John Maclean
Winter Stream, 2023
30 x 24cm
Woods
Path to River
John Maclean
Path to River, 2023
30 x 24cm
Fence by Woods
John Maclean
Fence by Woods, 2023
30 x 24cm
House Behind the Trees
John Maclean
House Behind the Trees, 2023
30 x 24cm
Depot I
John Maclean
Depot I, 2023
30 x 24cm
Tree Reflect I
John Maclean
Tree Reflect I, 2023
30 x 24cm
Tree
Egypt Palms
John Maclean
Egypt Palms, 2023
30 x 24cm
Blue Sea
John Maclean
Blue Sea, 2023
30 x 24cm
Winter Stream
John Maclean
Winter Stream, 2023
30 x 24cm
Beach Tree
John Maclean
Beach Tree, 2024
30 x 24cm
Ice Cream
John Maclean
Ice Cream, 2024
30 x 24cm
Flowers, Tree, Hill
John Maclean
Flowers, Tree, Hill, 2024
30 x 24cm
Number 3
John Maclean
Number 3, 2024
50.7 x 43 x 4cm
Number 8
John Maclean
Number 8, 2024
50.7 x 43 x 4cm
Number 7
John Maclean
Number 7, 2024
50.7 x 43 x 4cm
Number 10
John Maclean
Number 10, 2024
50.7 x 43 x 4cm
Number 11
John Maclean
Number 11, 2024
50.7 x 43 x 4cm
Number 13
John Maclean
Number 13, 2024
50.7 x 43 x 4cm
Number 14
John Maclean
Number 14, 2024
50.7 x 43 x 4cm
Number 12
John Maclean
Number 12, 2024
50.7 x 43 x 4cm
White Woods
John Maclean
White Woods, 2025
30 x 24cm
Trees of Green
John Maclean
Trees of Green, 2025
30 x 24cm
The approach
Gallery
The approach
London

The Approach is co-directed by Jake Miller and Emma Robertson. Located in Bethnal Green above The Approach Tavern, for over twenty years it has operated an internationally recognised programme from its East London base. The gallery is known for discovering artists and establishing their careers as well as making inter-generational curated group shows a strong focus. The list of represented artists includes the Estates of important overlooked female artists Heidi Bucher and Maria Pinińska Bereś, as well as seminal British collage artist John Stezaker, together with established and emerging artists including Magali Reus, Peter Davies, Lisa Oppenheim, Sandra Mujinga, Pam Evelyn, Sara Cwynar, Sam Windett and Caitlin Keogh. Over the years the gallery has operated parallel programmes in additional gallery spaces in London’s West End (The Approach W1) and in Shoreditch (The Reliance). The gallery is currently based solely in its original East End location and continues to expand its programme, showcasing its represented artists in the main gallery space, and both represented and non-represented artists in The Annexe, a smaller, more experimental space at the back of the building. ...

Unlock Price & Inquiry Access