James Murch

  It’s been a long time since my last update — almost a year now — and a lot has happened in between. The residency work was completed, the exhibitions took place back in June at Torre Abbey and Artizan, and life and work have moved on at a fairly steady pace since. I never got around to writing about any of it at the time, partly because once the paintings left the studio, I was already shifting into the next phase of work. Looking Back at the Exhibitions Seeing the two large paintings installed at Torre Abbey earlier this year was a strange full-circle moment. After months of living with them in the studio, having them shown just steps away from the spaces that inspired them created a very physical dialogue between the work and its source. Artizan’s exhibition brought a different kind of perspective — the work sitting alongside the studies and supporting material felt more like a complete record of the residency process. By the time June ended, it felt like that chapter had close...

Part 2: Bringing the Vision to Life As the days have passed, I’ve found myself both invigorated and daunted by the task at hand. It wasn’t until this week—at the end of January, with the March 16th deadline looming—that I began to feel a cautious optimism about completing these works on time and allowing enough time for them to dry. While I can’t say I’m entirely satisfied with them yet, each painting has started to take shape. The Second Painting: A View of Nature The second painting, a view from one of the Abbey’s windows, feels more naturalistic and immersive. Here, I’m working to draw the viewer into the scene, using the interplay of light and shadow to guide their gaze. This piece has come together with less worry; there’s a freedom in capturing the verdant aspects of nature. The First Painting: Complexity in the Dining Hall In contrast, the first painting—set in the Abbey’s dining hall—has presented far more challenges. The scene is layered with intricate details: a richly patter...

 I was recently awarded a residency at the historic Torre Abbey, a former monastery built in 1196. After Henry VIII’s Dissolution of the Monasteries, the Abbey was purchased by the Cary family, who owned much of the surrounding land, including Cockington Court, just up the road. Cockington Court, now council-owned along with Torre Abbey, runs a scheme that allows creatives like me to rent studio space. Torre Abbey recently secured a significant restoration grant to address damage caused by water ingress—much of it linked to outdated cement render and the inevitable wear of time. As part of the restoration effort, my residency is part of an initiative to engage the public, showcasing how art can connect people to this historic site while supporting local creatives who often face limited opportunities in the area. The residency brief was to create immersive artwork reflecting the concept of nature reclaiming the Abbey. For me, it was also an opportunity to push myself and paint on a ...