Thursday, 30 April 2020

My Arty Lockdown

With the world in various stages of lockdown all my plans have had to be shelved. My leaky studio roof will have to be patched rather than re-built, the restoration project on our house can go no further as we can neither buy materials or dispose of them and as non-essential travel has been stopped galleries, exhibitions, art shops and inspirational places to visit is also off.
I have managed to continue with some small still life ideas and some printmaking on to fabric but this has been slightly limited by space and availability of materials. So for this months work I have produced a number of development pieces which I will hopefully be able to take forward to exhibitions and launch in my Etsy shop.


Book Blocks ready to be covered

Hand printed cotton 
I recovered these blocks from my studio that I made before we moved and managed to successfully cover my first book with my handprinted fabrics made into bookcloth.
Thrilled with my little handmade book (see my Instagram post!) I have been experimenting with printing onto different fabrics with different printing inks and different colours. As ever I have looked to nature to inspire me, noting colours and forms in the landscape to drive my designs.


My cotton prints have been most successful as other fabrics have not held the ink as well and while textile inks have been worth trying it has been the old faithful Caligo inks that have come out on top. These will now be sewn into coin pouches, wool baskets and zipper pouches as well as used on handmade journals. It will be great to get sewing again and develop some of my ideas.



Printing press assembled and oiled


Christmas tag designs

As well as textiles I have been makimg some progress on developing some Christmas stock for my Etsy shop. With my printing press finally unwrapped after a year of sitting in bubble wrap I am feeling a little further on in getting myself set up but in all honesty the studio still doesn't function and I am stuck in the house with limited resources. With so many people currently out of work the only way forward is to patch the roof and hope that with the temporary fix I can start making work again.


Still life set up
I have been continuing my work on Still Life's. This time I have taken on a slightly larger composition to work on a variety of shapes and textures. Having a properly lit set up has been a major benefit, and learning to organise my palette has also helped with accuracy. Learning to be patient has been a major factor as I have to let each layer dry, so to compensate my time restrictions I am now looking at setting up a series of small compositions that can be rotated with out too much disruption. I am hoping that this will increase my production ready for future exhibitions.

Underpainting going down
Starting to develop layers and depth




Thursday, 27 February 2020

The Art of Still Life

As I am limited to what I can produce without a studio I have been challenging myself with learning the discipline of painting Still Life's.
Discipline is certainly what is required. As I have spent many years taking absolutely no notice of technical aspects in painting it has been an eye-opener to have to consider and think through problems before I have even put pencil to paper or brush to canvas.
While the process of painting has been relatively straight forward, thinking about space, composition, colour and most importantly the control of light has certainly not. Each aspect of surface has to be considered in relation to another and changing light throughout the day and light direction have caused numerous problems. I think I'm set up and ready to go then realise what I organised at ten in the morning looks very different at one in the afternoon. So here is an update of my attempts and pitfalls that I have fallen firmly into so far. 
 
Plums and Silver Vase, Oil on Board

My first attempt was to paint a vase with plums. I tried to keep it simple by keeping neutral and plain backgrounds, I chose the plums because they were nice spherical shapes that I felt I could control and a silvery vase because I had read somewhere that shiny objects were always good in Still Life. Lesson number one; think about the space you are working with. I had to add in a branch as I hadn't thought about the shape of board I was painting onto and the composition looked unbalanced. I think the overall painting was not too bad for a first attempt, if but a little under-developed.


Jug, Grapes and Books, Oil on Canvas
Excited about the possibilities I moved swiftly onto attempt number two. This was a slightly more complex ensemble of books, a jug and grapes with a grey cloth in the background. I liked the set up with the mixture of textures and colour tones, but as the light moved in the room the jug kept changing. One time it had grey/blue shadows then it was very white, then the shadows moved and if I had the lights on it reflected yellow back at me. Urrgh!!
Lesson number 2; create a set up that has one defined light source and control the way it falls on the surface by using a box or boards. Natural light on this occasion is not helpful.


Sliced Melon, Oil on Board
Onto the third painting. As I was still overwhelmed by the possibilities of different set ups I decided to try one with a dark background to see if I could enhance a more dramatic composition. This time I used a bright orange slice of melon against a dark background with a shiny surface of a wooden box to give some reflection. But I didn't have much time, only managing to get the underpainting sorted out before I had to dash off to work so here is lesson number three; choose a subject that will not deteriorate and go mouldy! This painting had to be put in the reject pile before it even got going and again as I hadn't set up a single light source I'm not sure it would have been terribly successful anyway.
So now I am waiting for an angled floor lamp to be delivered. I have a box to set my objects in and boards to work onto rather than canvas because its easier to apply paint accurately and get a smooth finish than on canvas (lesson number 4). It has left me thinking about numerous compositions and colour options that can be explored. In order to try and get a grip on where to take it I have started taking photos of ideas in the hope that once I am set up I will be more productive than lurching from one composition to another!

Experimental photos of set up

Sunday, 2 February 2020

New Year, New Project

Last week small canvases and paints were retrieved from my leaky studio and work has started on a little project I've been mulling over for some time. Ever since a visit to Southampton City Art Gallery and seeing a small still life of a pear I have been thinking about challenging myself with learning to paint contemporary still life, so now seemed the perfect opportunity to weave that into a busy schedule.
So far so good. The size is perfect for in the house, and working in the evening with constant lighting has also paid off.
So here I am working out formal spaces, thinking about colour, form and texture and what I actually want to convey through the style of the work. As ever I have been drawn to American artists, in particular William Bailey, Todd M. Casey and William M. Harnett who's work I saw a few years ago in New York.


William Bailey's paired down vision

Todd M. Casey, 'Entomologist'

William M. Harnett

I love the paired down look by William Bailey because the space lets everything breathe and the rhythmical shapes and colour combinations have calming aesthetics. Todd M. Casey's work has a sense of narrative to it. It makes me think he's just raided someones ruck sack or kitchen and makes me ask who owns this stuff! And William M. Harnett for his amazing skill and use of paint.
Luckily I have plenty of objects to paint so I haven't had to scratch around in the back of any cupboards. It has been important that my objects are personal to me, after all there has to be a reason to paint them in the first place. 


First try at an underpainting on board

The more I look the more combinations open up to explore, but most importantly they have to be beautiful so I suspect that, while I suffer with a leaky roof, I will be producing many small (and possibly large) still life paintings for you to see.

Monday, 20 January 2020

Cornish Re-location

It's been a year of hard decisions, long conversations and a huge amount of work but at last I have been able to re-locate my studio to beautiful Cornwall. Inspired by the wild and rugged landscape I was hoping to be settled by the Summer and working towards exhibitions and Open Studio events. Unfortunately my new studio has a leaky roof and since we've had non stop rain for several months I have had to de-camp to the house.
Moving Day

A chaotic studio with no electricity and a leaky roof
As the canvases and printing press are all tucked away in bubble wrap for the moment I have been focusing on my sketchbook and planning new prints for my Etsy shop. I have no choice but to focus on getting money together before I do anything else, but in a funny way it's making time for smaller paintings, in particular some still life paintings and using linocut prints to stock my Etsy shop which has been nothing but neglected with moving house.
Looking to stock up my Etsy shop over the next few months
I'm sure by the time I can get back into my studio I will have done all my prep for all the big canvases that are just sitting there waiting.








Thursday, 31 January 2019

Mid-Winter Hiatus

It's the coldest day of the year so far and I have been busy re-assessing where I am with my work. I ended up taking a very unplanned hiatus from work while I cleared out and reorganised my life. After drowning in paper and half finished ideas I can finally see the wood for the trees and my studio is back in a functioning state.

A Working Studio



Sometimes it pays to take a step back and work out what I should be doing, so with a new action plan in place I am looking forward to achieving goals for the summer.
I have neglected my Etsy Shop so this will be my main focus over the next few months. I am hoping to launch new prints and develop designs for cards, calendars and textiles. 





I have decided to take a break from the Emsworth Arts Trail this year, but for those that want to visit other artists and find out dates here is the link for the web site. www.emsworthartstrail.org.uk/

Of course that doesn't mean there's no painting happening. I have a few paintings rumbling along in the background and when I'm ready I will be re-opening my studio to the public.



Studies of Natural Objects


Friday, 6 July 2018

July 2018 Newsletter

Summer is in full swing here in the UK with glorious sunny days all week long.

I started July by taking a week off to explore Cornwall and visit some of it's most beautiful coastlines including St Ives and Falmouth. With a new sketch book at the ready I am hoping to find inspiration for new landscape paintings ready for 2019. St Ives was particularly amazing with dramatic skies blowing in off the Atlantic and the cliff tops covered in summer haze.
Falmouth Harbour
Having returned, my focus is now on a new painting for the Emsworth Artists Exhibition. I will be exhibiting Winter Storm and hopefully a new piece inspired by the Cornish coast. With the hot weather continuing for at least the next week progress has been good with drying times speeding up quite nicely.
Winter Storm, 2018
In a quiet moment I've been looking at the work of Eric Ravilious, in particular his wood engravings.
I am tempted to put the paint brushes down and start carving at some wood blocks but as I have yet to finish a certain puffin reduction linocut I have to be self disciplined and hold back. The sketch book is filling with a few ideas though so maybe once the painting is complete I shall get carving.





Wood engraving by Eric Ravilious

Making Books by London Centre for Book Arts
Finally I have treated myself to a book about books! Having dabbled in book binding in the past I thought I would combine my new found printing skills with handmade notebooks for my Etsy Shop.
Possibly there might be a wood engraving/book binding combination on the horizon.



Sunday, 10 June 2018

June 2018 Newsletter

May seems to have flown by and before I knew it we were well into June so time for a quick update on new paintings. With plants and flowers blooming in the countryside there has been an overload of material to work with. Although I am keeping the majority of new paintings under wraps until the work is a little more developed I can give you a sneaky peak of what is sitting in my studio.

Detail of still life underpainting

Detail of still life underpainting
 Collecting and arranging natural objects has been a major part of setting still life's up. The tricky aspect of putting together a composition that I am happy with has been quite time consuming and with more ambitious collections evolving the challenges are becoming more and more complex.

Floral Collections

Floral Arrangement 
 A foraging trip to Brighton beach was due this weekend but ended up in a tour of places of interest starting with the Lanes and ended up at the Brighton Pavilion so another beach trip will have to be scheduled for another time.

Brighton Pavillion