David Brett Art

David Brett Art Original contemporary abstract landscape paintings for sale

This series follows an interest in how forms can emerge through absence as much as presence — where fragments begin to s...
11/05/2026

This series follows an interest in how forms can emerge through absence as much as presence — where fragments begin to suggest something familiar, before slipping away again.

Mixed media acrylic and collage on canvas.
London studio.

From an ongoing series exploring atmosphere and spatial ambiguity. Focusing on the erosion of time and place Mixed media...
03/05/2026

From an ongoing series exploring atmosphere and spatial ambiguity. Focusing on the erosion of time and place

Mixed media acrylic on canvas. London studio

Who needs to go right to the edge? The blue, self-painted collage paper in this piece should not cover the surface neatl...
18/04/2026

Who needs to go right to the edge?

The blue, self-painted collage paper in this piece should not cover the surface neatly.

Rather, the raw unfinished edges convey a certain, well, edginess. They tell a story in themselves, little glimpses of white paint, bleeding over into collage. Nothing is off limits.

I don’t want this to be a comfortable or resolved image. I want the chaos of information and painting marks to be in conflict with calming planes of colour.

Interception.
60cm x 60cm.
Acrylic mixed media on canvas.
London

From distance to detail. I think about these works in relation to the spaces they might inhabit.At close quarters the su...
27/03/2026

From distance to detail. I think about these works in relation to the spaces they might inhabit.

At close quarters the surface reveals a glimpse of earlier layers, while at distance the loud conversation is all that can be heard/seen.

Mixed media on canvas. London studio.

Swipe to see setting to detail.

This painting, another from my ongoing series of abstract trees, changed gradually through revision rather than addition...
02/02/2026

This painting, another from my ongoing series of abstract trees, changed gradually through revision rather than addition.

What remains is the sum total of all the earlier versions. A history of change in more ways than one.

Mixed media on paper. London.

Committing an idea to canvas always feels like a big undertaking, so it’s freeing to try some thoughts out on a differen...
08/12/2025

Committing an idea to canvas always feels like a big undertaking, so it’s freeing to try some thoughts out on a different medium. In this case, it’s paper, which I’ve coated in gesso to keep the usual feel of an acrylic painting in its creation.

One of the constant dilemmas I’ve had with my recent abstract landscape work is juggling a looser painting and mark-making style with a desire to bring in bold and simple form to the design.

How do you square the two, because they’re opposites aren’t they?

Let’s talk texture. While it’s not the most important ingredient in a painting, when it comes to mixed-media I do like t...
24/11/2025

Let’s talk texture. While it’s not the most important ingredient in a painting, when it comes to mixed-media I do like the physical characteristics of each element to shine through.

Abstract landscape paintings, by their nature, strip down an image to the essentials — movement, light, temperature, the trace of memory — then it’s a question of how best to represent them.

So, in the close-ups, you can see the layers more clearly: the torn-paper strata, the veiled colour shifts, the marks that hint at detail without exact description. It’s unresolved at the moment, despite the image in the last frame.

Also, you can see how I test areas by sticking collage papers with masking tape to both get a sense of value and assess how the design works.

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