George Rowlett’s paintings are made on the spot and are a celebration of sustained spontaneity. Restless and alive they catch and reflect light, the paint constantly on the go, thick and turbulent, delicate and sturdy they are laden with evidence of the experience of being there in all weathers; a do or die form of brinksmanship to capture fleeting moments of light in an ever changing subject and make it real.
William Feaver writes in the exhibition catalogue that: Often, maybe to squash any hint of a suggestion that he’s soft on the picturesque, George’s titles operate like Met Office bulletins. ‘Kingsdown Cliffs from the Butts, Drizzle to the South, Afternoon’ spells it out but the picture itself tells so much more. There’s the sou’wester quality that comes of working in such changeable circumstances that all he can do is keep up, keep looking, keep contriving to keep the paint clean and the application sensational (in the true meaning of the word);the sense of tracking from tide to tide on Thames and Humber, breasting hills, nosing flowers, telling the weight of the sea, constantly absorbing and attuning himself to the passing subtleties of light.