Spring 2019

Side of the Front Oil on Panel 25 x 75 cm

Side of the Front Oil on Panel 25 x 75 cm

Holiday Oil on Panel 50 x 60 cm

Holiday Oil on Panel 50 x 60 cm

Crocodile's Simply 'Love' Carrots! Oil on Board 60 x 60 cm

Crocodile's Simply 'Love' Carrots! Oil on Board 60 x 60 cm

-Where's She Too!- (Hiding from Mother series) 20 x 20 cm Oil on Panel £490.jpg
Below the Tide Oil on Panel 34 x 70 cm

Below the Tide Oil on Panel 34 x 70 cm

Untitled - 21 x 70 cm Oil on Board

Untitled - 21 x 70 cm Oil on Board


Tin Wood - Russell Gallery - London 2018


To See Full Catalog Please Click Tin Wood Image Below

Tin Wood

'Tin Wood' is a small woodland that is nestled within the beautiful Mount Edgcumbe Country Estate in Cornwall, where painter Heath Hearn both resides and works.
It is a name that the painter has given to a little Spinney that has many pre-war tin buildings and structures scattered within it.
Old boat huts, a Cricket Pavilion and Tea House are just a few of the many tin structures that sit frozen in time, and where nature has started to romantically reclaim them back to the woods.
It was through the goodwill and support of The RT Hon Robert Charles Earl of Mount Edgcumbe, that Hearn was given the opportunity to restore and convert one of these buildings (the old Tea House), into his new studio. 

'Tin Wood', alludes to paintings of folklore and fairy tales, where abstraction and illustration, merge together in soft muted pinks, blues and greens.
Lightning struck trees all petrified white, Jurassic Cedars and mighty Oaks, all form the backdrops for Hearn's playful narratives, converging towards themes of Red Riding Hood and Aesop's Fables. 
The Tamar Estuary and it's riverine life also make up a part of 'Tin Wood'.
Industrial docklands, slipways and viaducts that loom over whimsical sail boats dancing on the waters surface like a ballet.
Other paintings focus more on the tin structures that surround his studio, along with  elements of wood, china, slate and flint, all abstracted towards the geometric.
Ivon Hitchens, Howard Hodgkin and Alfred Wallis are all influences that come into play with Hearn's fifth exhibition at the Russell Gallery.
'Tin Wood' is a reverie of a land lost in time.


2017 - Mixed Exhibitions

The Navigator (approx 50 x 90 cm) Oil on Panel

The Navigator (approx 50 x 90 cm) Oil on Panel


2016 - Mixed Exhibitions

Cobalt Aquarium - Oil on Panel 50 cm x 100 cm

2016 Mixed Exhibitions

Impressions Chosen from Another Time Oil on Panel 60 x 60 cm (Detail)

Nov 2015 - Edgar Modern,

"Hypnagogic"                                                 In These Colours We Dream

Hypnagogia, is a type of hallucinatory dream that can occur within the transitional state between wakefulness and sleep.

Goya, with his 'The Dream of Reason Produces Monsters' painting in 1799 and Henry Fuseli's 'The Nightmare' in 1781 are just two examples
of how painters over the years have tried to express the hypnagogic state.

From early childhood to present day I've always had Hypnagogic and prophetic dreams.
Abstract and fragmented shapes resembling people, animals, landscapes and sometimes even numbers seem to be projected in vivid flat colours, in front of my eyes.

Other dreams of dark creatures from other worlds, regularly sit on my bed at night, with their very real presence and smell paralysing me with fright.

These creatures from our dreams, probably gave rise to the medieval legend of the Succubus and Incubus.

'Hypnagogic and 'In these Colours we Dream', consists of two different bodies of work, representing the onset of wakefulness and the onset of sleep.

'Hypnagogic', began as an expression of the darker side of the conscious mind.
Succubus and Incubus mingle with voodoo figures, magic folklore, superstition and prophecy.

'In these Colours we Dream', started to take form as a reaction to the paintings from the Hypnagocic series.
Born from the notion, that vivid fragmented shapes are how we actually see our dreams whilst asleep,
which are then translated back to more familiar forms through the conscious mind, as we awake.

On this premise my work changed into large flat simple shapes of colour that could be likened to the back light of a computer screen.

This very 21st century form of 'new light' and colour seemed the perfect way to assemble my Hypnagogic vision.





Stuck by this River- Oil on Panel 21 x 80 cm









In these Colours we Dream