founded in 1927 
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Cheesewring IX - Iron Oxide 
100 x 100cm 
Oil on canvas 
Wavellite XII (Phthalo Blue) 
29 x35cms 
Oil and shellac on 300gsm BockingfordSOLD 
Lapis Sett 
13 x 17cms 
Oil and shellac on 300gsm Bockingford 
SOLD 
De Lank IX -Alizarin & Oxide Orange 
50 x 70cmx 
oil on canvas 
 
Dernau - Indian red & manganese 
100 x120cms 
oil on canvas 
 
Filleigh II 
25 x25cms 
oil on canvas 
 
filleigh III 
25 x 25cms 
oil on canvas 
 
Wavellite with Phthalo Green 
13 x 17 cms Oil and shellac on 300gsm Bockingford SOLD 
 
High Down Wavellite VI -Iron Oxide 
50 x60cms 
oil on canvas 
Wavellite IX (Cerulean) 
29 x35cms 
Oil and shellac on 300gsm Bockingford 
SOLD 
High Down Wavellite II -Iron Oxide 
oil on canvas 
50 x70cms 
High Down Wavellite VI -Large Sett & Wavellite 
oil on canvas 
50 x 60cms. 
High Down Wavellite V - 7 Contained Verticals 
oil on canvas 
100 x120cms 
Wavellite IV -Erythrite, Chrysocolla And Indigo 
oil on canvas 
30 x40cms 
Weibern SteinBruche 
oil & Graphite 
on Somerset paper 
76 x57cm 
If you are interested in purchasing work by Lar Cann or for more information Click Here> 
Lar Cann
 
Lar Cann, SWAc.  
 
I live and work near the world heritage site of the Phoenix Mine and Cheesewring Quarry on the Caradon Hill mining complex of South East Cornwall. 
For a number of years I have been engaged with the visual impact on the landscape of the South West, in particular that of Cornwall, brought about by the industrial extraction of tin, copper and lead. This intervention has revealed an otherwise hidden world of mineral wealth unrivalled in its beauty of colour, form and texture and is a continuing source of investigation and motivation. Specifically it is the rich, saturated colour that is the focus, to the point of it becoming the subject. 
Whereas I do not use metalliferous mining products directly as a visual reference, there are quite a number of minerals that are, unearthed and scavenged from the spoil heaps of Cornwall’s disused mines and mining heritage. These references are made almost exclusively for their colour content, often in conjunction with the matrix of rock in which they are found. These natural relationships frequently inform the compositions. The colour may well get modified in qualities of saturation and tone during the picture making process, but without direct observation from the specimens in my collection the work would not have this as a starting point 
The geometry and planar composition of the work is usually based on references to another aspect of Cornwall’s geology, that of granite quarrying. I will happily mix the two sources, cavalier-like and irrespective of its scientific accuracy, even juxtaposing and mixing two or more colours from unrelated minerals. But this is always for the sake of the painting’s construct: it is a response to, rather than a recording of. 
The titles of the works often make reference to the minerals, or their source, or as a sub-title to a quarry reference. 
 
 
 
 
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