View in Paradise 25.12.2003 is a painting full of life and vitality, greatly influenced by Hoyland’s travels. In the 1990s and early 2000s he spent a lot of time in Bali and Jamaica which had a great effect on him. Hoyland states, ‘Bali confirmed realities – of colour, pattern and movement – already known and illuminated by an interior light.’2 The radiance and sheer beauty he experienced there made its way into the paintings. ‘I came back with so many ideas, so many archetypal structures that I could try to hang my thoughts and feelings on.’

View in Paradise is exemplary of Hoyland’s use of a dark ground, which is formal, structural, and emotive. The layered pool of paint evoke chance and freedom. In the darkness there are defiant and expressive strokes of swirling bright colour and floating orbs, implying hope and optimism. He carefully constructs the illusion of chance. Implementing techniques of throwing, pouring, staining, and flicking paint gives the work visceral energy. For these seemingly spontaneous actions, he developed a range of sophisticated automatic techniques, stating ‘with acrylic you can draw from the mist. The movements are almost balletic. You have to rehearse them.’