Solo Exhibition: Quiet Radiance


11 June - 12 July 2019

Tuesday to Friday 10am-5pm
Saturday 11am-4pm (during June) / 10am-1pm (during July)
All other times by appointment

Private Views: 10am-4pm Saturday 8 June

Serena Morton, 343 Ladbroke Grove, London W10 6HA

+44 (0)7716 558732

click here to see exhibition catalogue:

The paintings in this exhibition were inspired by the silence and solitude of two outwardly unremarkable locations. I am deeply grateful to these ordinary places in which my mind is able to wander in meditative reverie; attending to shifts of light, temperature, scents and birdsong – their repeated sensory input generating my colour spaces. A harmony is created through balancing the visual rhythms and hues; an orchestration of chromatic relationships into a unified whole. This re-alignment of mind and spirit forms the content of my art and vision. There is a tranquility that emerges through the flux of creative decision-making, a sudden gift. 

The setting is always crucial, an environment that produces a lucid response, although not in a narrowly topographical sense. Each painting begins with stillness until there is a momentary awakening, an experience rooted in nature that triggers a visual reaction, more  surrendering to an event than formulating a design. Working at night has been particularly freeing; it merges seeing with imagining. Suggestive nocturnal impressions of floating forms permit me to employ unrepressed combinations of mark and colour. The night allows me to inhabit a realm that is invisible and dim. My problems come when I lose contact with that raw experience. The hard work is paring back, simplifying and re-membering. Often, usually, weeks need to pass before I re-engage the image in the studio. This allows a detachment to take place, an essential sifting of clutter and winnowing of literal detail. Resolution comes from realising a dynamic interplay between formal visual elements and emerging feeling, a re-capitulation of the original impulse in an unexpected way. Uncertainty is an excellent guide; it compels me to feel my way forward. The best results are frequently strangest. 

Working in a series of identical formats allows themes and variations to develop in a quasi-structured manner, like a poem’s stanzas or symphonic movements. When seen together the family resemblance is clearer, although each image has a distinct identity. 

The benefit of multiple versions is that natural selection sharpens one’s comparative instincts and provokes wilder alternatives. 

Ultimately, there is a quiet radiant joy, the hallmark of productive periods of concentration. This comes from the sense of being a conduit rather than an impresario.

Mark Cazalet, May 2019



For an up-to-date list of courses Mark is booked to teach in the near future please go to the following website links:

The Royal Drawing School, London

West Dean College, The Edward James Foundation, W.Sussex

Arts in Provence, Les Bassacs, France 2.html