The driving force behind Alexandra Drysdale’s work is the desire to unite visons of eternity with mundane reality. For twenty-five years, she has continually pursued this in a variety of art forms, including painting, sculpture, installation and performance.

Her recent paintings of the sublime panoramas of Australia contrast with the low horizons and mundane detail of her home environment of Cambridgeshire. Alexandra’s earliest influences were two of her art school teachers, Cecil Collins and Ken Kiff. The former drew her attention to Samuel Palmer and 20th century English Neo-Romanticism and the latter to Paul Klee.

Since then her career as an art history lecturer has led her to many great teachers from the past. Her view of nature is perhaps closest to that of Ruskin, who wrote in Modern Painters that “although there was no definite religious sentiment mingled with it, there was a continual perception of sanctity in the whole of nature….an instinctive awe, mixed with delight; an indefinable thrill.”