As a Fellow of the Institute of Civil Engineers I worked for many years in England with the Consulting Engineering firm of Felix J Samuely and Partners (Samuely worked with the Bauhaus architects before fleeing Nazi Germany and setting up in England).
Initially at Samuely I was involved with the re-building of St.Thomas Hospital, opposite the Houses of Parliament, and the development of a new University, Warwick. My speciality became inner city re-developments taking responsibility for numerous multi-million pound projects all over England.
This complex work required the ability to see the essence of a problem which encouraged my love of the simple and minimal that has become a feature of my work.
I decided to commit myself to full-time painting in 1993 and attended Chelsea College of Art and Design. Following this I spent the next six years at Great Western Studios an Central London. This complex housed some seventy studios and one hundred and twenty professional artists.
I have a long interest in both Jungian and Transpersonal psychology, the poet Rumi and icons. These influences are reflected in my paintings, which in part are studies in form and colour recalling “inner landscapes”, and in part invitations to travel internally without defining a destination. My larger work is intended for public spaces where the vibrant colours and clear forms enhance the environment.
In July 2004 I was invited to an Artists Residency organised by the Fundacion Valparaiso in Mojacar Spain. This led to marriage and immigration to the USA where I have re-established my career.
An appreciation by Bruce McAlpine
Art Consultant, Collector and Director of Ancient Art, London.
“Chris Malcomson’s range of interests is vast and eclectic - architecture and building (he trained and worked as a civil engineer), mythology, poetry, history and archetypal psychology - and all these are mirrored and combined in his paintings. Each work has a spatial balance and harmony of an architect’s vision and an engineer’s grasp on the reality of presenting form; but the use of many-layered colours and pure geometric forms takes the viewer into the deeper reality of a world hidden behind the veil of sight. Thus the paintings pull our sensibilities into a realm that is richer, more ancient and more archetypal (it is no coincidence that he has completed a series on the Greek Gods), powerfully reminding of the mythological resonance in our lives which we too easily forget. In many ways his paintings are a vivid reminder that we are in Plato’s cave, starting at shadows yet longing for a vision of the true archetypes that underlie all forms. Viewing one of Chris Malcomson’s paintings is to experience an initial burst of delight in the interweaving of the colours and the purity of the forms, followed by a slowly growing base note of awareness as we begin to sink into a full appreciation of the richness of cultural and psychological depth underlying the surface texture.”