Robert Diamant

Aura of the sheep.

Yeah.

So it's a kind of collage of different moments that you have sat in nature and seen.

Yeah, so that is inventing.

Right.

How interesting.

And that painting in particular really encapsulates like the movement of the light as well.

There's something in the looseness of the brush marks that it really has that kind of wintery, crystal-y, I don't know, there's something about it.

And I saw a painting that isn't really developed yet.

It's still in quite early stages, but it's a lot of different kind of mark making, almost like an underlayer, perhaps.

Is that typical?

It's almost like energy somehow, like interpreting energy, that's totally impossible to describe with words or anything.

I know poets try, but like, you know, same with painting.

Yeah, but I feel like you're then manifesting it and making it into something permanent.

So is that why it's so important to go and sit plein air?

You could be an artist that paints in London, dreaming almost like romantically about your past, you know, childhood.

And you remember if you have a quite a visual memory anyway.

Do you see the paintings as like, you know, you were talking about working with your dad when you were growing up before you became an artist full time?

Is there something about holding dear that tradition of working the land or farming?

Like even just let your ancestors say, or like Wales is the history of Wales.