About the Artist
Mark Briscoe's artistic journey began at an early age in southern England, where he exhibited a natural affinity for painting and the visual arts. After gaining a diploma in graphic design, he worked at an art restoration studio in Covent Garden, London, here he discovered techniques and mediums that have been used by master artists over the centuries.
This period also marked a pivotal moment in his artistic trajectory as he embraced Indian meditation (Sahaja Yoga), which profoundly influenced his creative direction and led him to Rajasthan, India, where he immersed himself in the intricate art of traditional Indian miniature painting.
His passion for Indian and Eastern art inspired a transition to working with decorative Chinoiserie painted furniture, collaborating on prestigious commissions with renowned interior designers such as Nina Campbell, Joanna Wood, and Lady Victoria Waymouth, whose clientele includes the Duke and Duchess of York, Ringo Starr, Rod Stewart, and Paul Simon.
In 2001, seeking a warmer climate, Briscoe relocated to northern Spain with his family. Continuing to undertake art projects and commissions, he tirelessly refined his old-masters inspired painting techniques, creating landscapes in a classical style imbued with a brighter palette. His artistic repertoire expanded to include compositions reminiscent of the Post-Impressionists, utilising novel painting formulas he developed in his studio.
His latest compositions are characterised by meandering, wavy line work, a serpentine movement with similarities to the brushstrokes of Van Gogh. These expressive and animated compositions have garnered significant acclaim from art collectors in recent years and form the greater part of his artistic output.
Discover his available paintings in his gallery
Exhibitions/Awards
2025……3rd Place - Boldbrush Art Competition
2021…...Contemporary ll Exhibition, Boomer Gallery, London
2012….. Solo exhibition - Sala de Exposiciones CAI Mariano Barbasán. Zaragoza
2006…. Expohogar Exhibition, Barcelona.
1999….. Solo exhibition - Nehru Centre, Mayfair, London.
1998….. West One Gallery, London
1996….. Nehru Centre, Mayfair, London.
1996….. India Exhibition - Royal Pavilion Art Gallery and Museum, Brighton UK.
1995….. Taste of India exhibition, Royal windsor race course.
Collections
Caparo Group PLC,London
Mukand Ltd, Mumbai
Fundacion CAI, Spain
Bibliography
Front cover, RESURGENCE MAGAZINE issue 212
Full colour article, INDIA TODAY volume 21 number 6, page 48
Book cover, KREAM KORNER Anna Katharina Fröhlich
Full colour article, ARCHITECTURAL DIGEST Feb 2000
Front cover, KNOWLEDGE OF REALITY magazine issue 20
Full colour article, SUSSEX LIFE March 2000
Full colour double-page article, ANTIQUES MAGAZINE issue 839
ARTIST’S STATEMENT
From a fascination with the painting techniques of the old Dutch masters, my work has evolved into a brighter more expressive style that could be compared in many ways to the post-impressionists. I am frequently drawn to landscapes, florals, portraits and still life compositions as they lend themselves perfectly to the painting process I use.
Often returning to the painting methods of the Old-Masters’ classical landscapes, my works are charged with emotion: dramatic, cascading compositions that sometimes border on the surreal.
Planning of each work is kept to a minimum and I will generally sketch out a composition—an idea—directly onto the panel and let it develop from there. I have been exploring new creative approaches to work without being restricted by representational limitations. In particular, a series of abstract head studies (which might just about pass as portraits) that are fairly sinister, twisted and yet comical at the same time. I maintain a similar feel with these to my previous work in terms of technique, paint texture and much of the line-work.
The paint mediums I use are all formulated in my studio, such that I have full control over the effects I can achieve which are often lacking in paints produced commercially. I tend to work using several layers of paint rather than straight 'alla prima'. The quality of impasto texture and glazes are crucial in order to make a painting look as attractive close-up as it looks from a distance, this also gives emphasis to the brush strokes that create an appearance of movement and animation.
Though People sometimes try to analyse and interpret what my paintings represent, my aim is to evoke an instant emotive response rather than an intellectual one. For me, painting is essentially an emotional activity, so when I consider what colours would work best for the hills and trees of a composition, my thought is emotional, what colours do I “feel” are right, no rational explanation. This usually produces the happiest results and I think also transmits instantly to the viewer when the work has finally been completed.
