Alan Burden is a painter with no apparent antecedents. He uses techniques common to many artists, but his blend of free painting over textured relief in which the texture itself effectively becomes the drawing and underpainting, along with other aspects of his method, gives rise to completely original paintings. Not avantgarde but distinctly modern in his interpretation of the subject of mountainous landscape, his work employs oriental and geometrical perspective and colour that is both expressionistic and symbolic. His use of geometrical relief forms to express general configurations and elements of time is used cohesively with areas of blank, often textured, white and strong colour to examine the nature of his chosen subjects in extended time sequences. Burden attempts to convey the all encompassing nature of mountainous landscape by the simple device of four linked paintings representing the four seasons or by depicting several different times during a day in a single painting.

Whilst Burden's paintings are figurative, taken from specific places, the overall effect is at times almost abstract. This is not only because of the devices he uses, but also because the selection of the subject is made more for its abstract qualities than for it's topicality. He often enhances the abstraction by reducing his surfaces to near white textured reliefs, although the works illustrated in this brochure tend more towards the figurative than many of his paintings.

Aubrey Robinson

I readily admit to a bias when it comes to the work and the artist, for I have known Alan since the mid-seventies. We exhibited together in London, Manchester and Malaga as part of group shows. I was always impressed with his paintings, boisterous enthusiasm and single-minded conviction, not just relating to artistic matters, but all subjects that caught his interest.

The ability to take a subject and stamp one's own personality upon it is, indeed, a rare and exceptional talent. but this is precisely what Alan achieves with his highly original approach to landscape. It is fitting then that he should find himself living in Spain, surrounded by a vista of monumental proportions on which to flex his creative muscles. Had he not made this journey from England, I doubt that he would have progressed with such a forceful and clear-sighted vision.

My visits to Spain are, sadly, far to infrequent, but when I do venture forth from the shores of England and enter Alan's studio in Mijas, I am never disappointed by his latest offerings. And he, for some reason, is always anxious to ascertain my opinion, which I give readily and with honesty.

Alan makes a more than convincing analytical expedition into the heart of nature and succeeds in portraying the Spanish landscape in all its magnificent grandeur. For a man often consumed with self-doubt and varying degrees of insecurity, his work betrays none of this side of his character. He offers to the world a sanguine, resolute artist of great stature and unwavering commitment to his art and beliefs, which is the true nature of the man.

We are what we paint and with every determined brush stroke, commit our very being to canvas and exhibit our soul to the world. Perhaps then, on reflection, Alan, like all artists' is no more vulnerable than the next. However, unlike most, he is in complete control and `master´ in his own studio, which is self-evident with each completed work.