His signature style of vaporous silk paintings are now less etherial and more robust, both in the material - canvas instead of silk, ground pigment instead of watercolour and in his portrayal of the unstable energy of coastal waters. Form and colour are more opaque - the effect is pastel like - a feathery lyricism.

There are many artists from the canon of art history that Bob Aldous eloquently cites in relation to his work. Some are influences, other artists mirror his own psyche and preoccupations. Tiepolo and Turner, Tapies and Tillyer all hold sway but lets look at the intrinsic nature of the paintings, performance and poetry of the man himself.


Air and water – breathing through water – walking on air. The elements earth and fire are nowhere to be seen in his large silk paintings. The quality of lightness, as in ‘ lightness of being’  is clearly not thinness. Bobs paintings flow with a deceptive ease of making which is far removed from the vague mark-making of a ‘thin’ painter. 


The Chinese and Tibetans have been painting on silk for a thousand years. Silk cloth naturally absorbs infinite hues and gradient washes therefore it is the perfect medium for Bobs romantic vision of the world. The paintings draw us into the milky scape-lands of the imagination – an arcadian idyll, or the legendary lands of Shangri-La (Tibet) and Cornwall’s Lyonesse – whatever these works suggest, essentially  they are places for reverie.


CIRCLE are showing large works both on silk and canvas. All works are framed using a contemporary natrual wooden box frame. 

Installation shots