“York Minster,” 2026

James Brown

“York Minster (Oil),” 2026

Oil on wood panel

Size: 51 x 40.5 cm

Approximately six months before creating this painting, I worked on a pastel drawing on a small wooden panel, based on the same photograph I took of the West Front of York Minster in North Yorkshire, Northern England. 

In both cases, I wasn’t really painting the Minster in all its iconic and poetic glory—a true landmark with its imposing Gothic façade, intricate stained-glass windows, and soaring spires. Instead, I was capturing the haze of interference created by foliage, twigs, and branches in the foreground, along with the soft, warm hues of the Minster’s glowing limestone shining through.

“A Quiet Pool, Upper Wharfedale,” 2025

James Brown

“A Quiet Pool, Upper Wharfedale,” 2025

Oil on wood panel

Size: 50 x 50 cm

This romantic study of a “dub”—a local term in North Yorkshire (Northern England) for a deep pool or waterhole—captures a quiet moment along the winding road between Buckden and Skipton, the historic “Gateway to the Dales.”

As a visitor from the tropical north of Australia, the colours of the area were very different from home. Here, the palette leans towards muted greys and pinks, punctuated with brilliant patches of the distinctive Yorkshire green.

My fond memory of the landscape is encapsulated by a small, yet meaningful detail in the historic church of St Michael and All Angels at Hubberholme. There, several wooden pews bear tiny, hand-carved mice—the signature of the legendary craftsman Robert "Mouseman" Thompson. These playful, hidden touches in an unassuming local church set the tone for my perception of the Dales as a relaxed and friendly place. 

“Trafalgar Square,” 2026

James Brown

“Trafalgar Square,” 2026

Pastel and oil on wood panel

Size: 35.5 x 28.2 cm

While waiting in line to enter the National Gallery in London, I snapped a photo from the Gallery’s portico, looking out over the lively Trafalgar Square. Initially, I didn’t see much pictorial magic in the shot that would inspire a painting, but I was mistaken. 

Upon examining the photo more closely, I became excited by the layered features—elements that obscure or partially obscure each other. This was especially true of the hazy area created by the trees in the central part of the scene, which added a sense of depth and mystery to the composition. 

“Cliffs of Moher,” 2026

James Brown

“Cliffs of Moher,” 2026

Oil on canvas

Size: 49.8 x 39.5 cm

This painting originates from a snapshot I took during a bus trip to see the iconic Cliffs of Moher (Aillte an Mhothair) on the southwestern edge of the Burren region in County Clare, Ireland. While the initial inspiration was rooted in that view, I suspect there is more creative interpretation than strict topographical accuracy in this piece. 

My focus was not so much on the dramatic 200-metre drop from the cliff edge to the tumultuous waves below. Instead, I was captivated by the stark contrast between the unyielding, solid wall of the cliffs and the raw power of the waves crashing against it. There’s a dynamic tension—a power play—that mesmerized me and became the essence of this work.