Diana Winkfield

M.A.(hons).Fine Art, A.T.C.(London)

Edinburgh School of Art

Edinburgh University

Cages Confessions Capitals

Solo Exhibition at Piers Feetham Gallery, London

“It would be all too easy to consider Diana Winkfield’s paintings solely in terms of their imagery and their qualities as decoration, rich and subtle as they are. Song-birds in their cages, for example, were ever seductive creatures, at once charming and touching in their predicament, and decoration comes naturally in particular detail and structural complexity.

But there is more to her painting than the mere statement of such an image, however so pretty - and these are manifestly pretty things. To accept and then transcend that superficial prettiness takes a certain nerve in any case, and to carry it off, as Ms Winkfield does, is altogether admirable. Here are the paintings, as impressive in physical fact of surface, and the formal qualities of painting and drawing, as they are captivating in imagery and suggestion - at once delicate and tough, ambiguous and particular, beautifully done”.

William Packer
Art Critic and Painter
1950s & 60s:
As children we worked on the farm, ‘stooking’ the sheaves of golden corn. I first heard of The New City from the now notorious Robert Maxwell when he gave an impassioned pre-election speech in Olney Market Square. The Locals were incredulous, anxious and yet excited. My sisters and I were to long in vain for this Dream City to become a reality in our teenage years.
1970s:
On returning to M.K. after University, the ‘City’ was a sea of muddy promises still interspersed with many cornfields. The fields were fired after harvest: from a distance, it was as if the whole world was on fire.


1980s:
The August fires were replaced by the ‘fairy lights’ of the grid roads. Gradually the wild fields and hedges were razed, bulldozed and coaxed into clean cut lawns and sharp-edged shining buildings. On summer days the buildings in the city seem as insubstantial and transitory as a mirage.
This triptych was commissioned to form part of the Southern Arts Touring Exhibition, ‘MAKING 4 CHANGES’, and was shown in Milton Keynes CBXII in October 1996. The Exhibition set out to convey artists’ response to their environment in different towns in a wide variety of art forms. Since I have lived in the new city of Milton Keynes most of my life I was asked to make work which reflected this experience.
My life as a Painter in Milton Keynes is represented by three distinct but interrelated phases, which correspond to the idea of a triptych.
DREAMSVILLE U.K.
In December 1996 ‘DREAMSVlLLE U.K. was purchased to hang in the Director’s dining room of the West Deutsches Landesbank in Gracechurch Street, London.
Diana's work is included in many private and public collections  wordwide.
‘Aviary ’ was purchased by  Milton Keynes Hospital  
Aviary
oil on canvas
214 x 77