Becker’s painting has an immediacy that feels like a visual love letter to the landscape. It isn’t sentimental; it’s more that he has an affinity with his view and his subjects. His brushstrokes are often full of energy but he is also expert at suggesting stillness. He simplifies what he sees, to capture the light and the moment, making his Suffolk universal.
Becker’s animals and labourers are reminiscent of a world I grew up in; they are so honest. I spent summers in Maine where fishermen hauled lobsters from the sea. There were boats and traps and people worked the land. I go out and record what I see, delighting in the shapes and the colours, like Becker. Here in Suffolk, it’s the light that Becker refers to that I recognize. The industry that he describes has gone, but the landscape and light remain and I go out into the light to fix it in time.
Rebecca will not, after all, exhibiting in 2017.