About the Artist Sunset, Birling gapAs an artist, I find particular inspiration in vibrant city streets at night, vineyards, timeless villages and towns, and the lived-in architecture of old and characterful buildings. Normally I work from my own photographs (sometimes a synthesis of several, as with A Letter from Vincent van Gogh), creating painterly interpretations of Andrew G Forrestimages that are very personal to me. My principal medium at present is acrylic, though I also paint in watercolour and enjoy drawing, mainly using a 4 or 5B pencil which allows for a wide range of tones whilst retaining a precise line (see for example Le Pollet, Dieppe). I like engaging closely with line and colour, the challenge of mixingcolour on the palette yet deploying combined pure colours with the brush. Sometimes I favour the explicit combination of colour and line: see for example Avignon: from the Palais des Papes.

Andrew G ForrestA particular painting might relate to an aspect of art history: Au Lapin Agile at Night features a Montmartre cabaret well known to Picasso and Van Gogh, while A Letter from Vincent… shows the courtyard of 54 rue Lepic, Montmartre, Paris, which had been Van Gogh’s residence in 1886-88. In this painting, a letter has arrived from Vincent - now livingThe Long Man, Wilmington in Arles in the South of France - to his brother Theo, who was an art dealer. As is well known, Vincent van Gogh was a prolific letter-writer. (See Extract 1 from my Van Gogh book, in this website’s Writing and Research page. There are three extracts from my book, the other two being from the chapters entitled Vincent the Painter and Vincent - the English Connection. These extracts rotate monthly on c. 24th of each month.)

I am happy to undertake commissions; some of my work is available as archive quality prints and greetings cards. I am a member of the Society of Eastbourne Artists.

This website was designed by NH Associates, and I would like to express my gratitude to Nigel Holt for his painstaking hard work and for everything he has done to bring this project to fruition. I would also like to thank the following individuals, for whose help and encouragement I am extremely grateful: Mike and Liz Amos, Wendy Bishop, Sarah Boada-Momtahan, Sidney Chambers, Annie and Brian Connell, Sarah Cooper, Robert and Nathalie Flowers, Kath and Geoff Forrest, David Futter, Emma Mee, Frances Morley, Helen Poole, Alan Powers, Ben Ravilious, Julian Sutherland-Beatson, Margaret Timmers, Anita Vriend and Laina Watt.