This painting of the Dymchurch sea wall by Richard Swaby Platt closely echoes Paul Nash’s works from the same area, particularly The Shore (1923), The Wall, Dymchurch (1925), and Winter Sea (1925). Like Nash, Platt uses strong linear perspective and the repeating forms of groynes and sea defenses to structure the scene. But while Nash infuses these elements with symbolic or psychological depth—often hinting at post-war unease or dreamlike stillness—Platt’s approach feels calmer and more observational.
The muted palette and lack of figures are similar, but Nash’s skies often carry tension or mystery, whereas Platt’s are pale and static. Nash’s Dymchurch paintings can feel surreal or charged; Platt’s is steadier, almost architectural in its clarity. The elevated tower here echoes Nash’s interest in solitary structures but without the same metaphysical overtones.
Platt’s work doesn’t imitate Nash, but offers a cleaner, more grounded take on the same subject—less about mood, more about form.