Following international recognition Alan Wolton's paintings now show a revised simplicity of statement. Concerns of what should or should not be, now lie in the shadows of Mr. Wolton's history. Free-spirited expression is difficult to judge, for not being a science but an art, there is no yardstick.
New concepts of design and sometimes minimalism, often of an old theme, may take a moment to appreciate. Yet always the freshness of a new approach serves to keep Mr. Wolton's devotees on pin and needles waiting to see the latest work. Most of the early years were spent working plein air. Oil paints, easel and often large canvases were carried into the wilds to render a conviction of truth. An expression of moving water was frequently the motivation for paintings. Rivers, rapids and the ocean have all been Mr. Wolton's companions.
1975 brought a new direction to his work as he launched into painting cathedrals in London plein air. His canvases were of necessity limited to five feet as the larger dimension, as nothing bigger would fit into a London taxi. These works were published with articles by the artist in the Pitman publication, "The Artist".
Mr. Wolton likes to feel he can paint any subject, although today working largely in his American studio, he definitely has his favorite models. Water lily themes and studies of the canals of Venice, are at the present time, the artist feels, right at his finger tips. Technically Mr Wolton's work is unquestionable. His list of credentials and exhibitions over the years is very impressive.
A clean canvas begins with a very simple line drawing in paint. This is followed with vast areas of very thin transparent oil colour. The works grow toward completion with powerful statements of loaded impastos and highlights. An artist friend of stature, once commented, "Alan paints both very thin and very thick on the one canvas."
Strange as national concepts are, Mr. Wolton is considered a "Bold Realist" in Europe and an "Impressionist" in the United States. Of himself he says, "I have never specifically attempted to follow a trend, the style of my work has come naturally. I choose to be a free spirit and paint with emotion. I like my paintings to stop passers-by who had only by accident caught a glimpse of the picture. What they see should be breath-takingly different, delightfully fresh, something emotionally appetising and a joy. A little stimulation in a mundane world. A subconscious visual high spiked by a happy relationship of colours, tones, forms and cleanliness. Or more basically, just a happy memory. Artists are extraordinarily blessed and fortunate souls, because if their creations are effective, they give the whole world happiness. What more can one ask of life?"
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