Fascinated by colour and space Lindsay's recent paintings of aerial views of Thames are inspired by helicopter trips over London. Using architectural structure as a compositional tool he paints grid-like, colourful geometric shapes that cast shadows and create a shallow field of depth, an impression of looking in to a box. Alasdair often uses direct observation and draws on sight as well paints from memory.
Alasdair was commissioned to produce 12 paintings and 312 prints of those paintings. In 2004 he won second prize in the prestigious Hunting Art Prize and was also selected to exhibit in the Hunting Art Prize in 2000, 2004 and 2005. In 2007 his work was exhibited in the Singer Freidlander Sunday Times Watercolour Competition, at Mall Galleries, London.
Lindsay has exhibited extensively with Beside The Wave gallery since his graduation from Falmouth University of Art and Design. He completed a commission of 12 paintings and 312 original prints(what kind of prints?) for permanent display on cruise ship Cunard Line Queen Mary II. His work has been included in various group exhibitions at institutions and galleries through out United Kingdom and won him Hunting Prize for which he has also been shortlisted several years in the row.
For me a painting should be an object of aesthetic pleasure and exploration. This may be from the reaction of colours to give a certain mood, or from the contrast of fluid or rough brushwork sitting next to areas of precise painting. Often the subject of my painting becomes secondary to the emerging pattern of abstract areas, which must be evaluated and perhaps edited for the sake of the overall composition. Mistakes or problems in my work are simply a means to an end. I enjoy encountering them and setting them to rights, but often leave traces of the process of correction. I think this gives the surface of the painting a depth and history, but also a spontaneity that would not be there if the subject of the painting were reached directly. My paintings don't always have the feel of being made in situ. Because of the layering and time involved I work from the studio, which also helps my imagination. I often start a painting in an abstract way, building up scenes from drawings or experimentation, and a direction and resonance of light develops with the painting.