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Sunday, 30 September 2012

Waterscape Project 4

I have really enjoyed the visual research sketching water. Because I was near the sea,I decided to take the plunge.Ha! I have never painted the sea before and it was a great challenge.
I wanted to capture the connections between the waves, the ridges that push and pull other wave along. This painting represents the strong connecting waves from the cliff edge at Point Lynas in Anglesey, North Wales.

I also wanted to paint the swell and capture a little of the depth revealed as waves lift and thrust onwards in one direction from the land.


Really pleased but lots more studies needed. I need to go to the sea again. I found sketching on the edge invigorating. Interesting that my best figure drawing has been moving figures and I loved trying to capture the moving waves. Getting the right colour for space and swell was hard and I know it's not perfect.... More to do.

Friday, 28 September 2012

Man Contemporary

Visited today. Loved new works at Castlefields gallery stand. Cutting edge painting refreshes the mind and aesthetic taste. Tantalisingly good.
Really strong paintings. Brushwork tasteful bizarre yet scrumptious
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Wednesday, 26 September 2012

Painting entitled 'Wild Boar Hunt'

Not finished foreground. A narrative painting

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Tuesday, 25 September 2012

Waterscape partly en plein

Entitled ' Wave Connections' Painted on the cliff top next to lighthouse pilot jetty at Point Lynas, Anglesey. Touches of paint then in studio. Pleased. Unfinished. On its side!

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Atmospheric drawing in gouache of Whitby Abbey

Unable to rotate. Sketched outdoors. Used paint in studio.

Thursday, 20 September 2012

Drawing is semiotic notation

Read an interesting article that analyses the relationship between the range of marks made by artists, the patterning etc to nurture, explore, and visualise meaning. The product is a coherence. The article entitled" Notation is Discovery, Discovery is Notation" by John Stell, University of Leeds computing dept. Link below:

Interesting notes about the drawing marks of Whistler.

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Wednesday, 19 September 2012

My print of running figures

In group exhibition at The Lowry

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My print of figures

In group exhibition at The Lowry Theatre area .

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Project 1 Associations p 207 ladder and bear

14 hours- half way through project.

Hard to paint something one feels rather than sees. I do love the handling of paint and using esoteric tools.

Having chosen to go large, very large for me, the use of hands and fingers was expressive and quite emotional. It may not be for me in the long term as I like a narrative and I felt that attempts at this touch/ feel project where emotion governs, is releasing but a task rather than a love.

Have changed the palette to a burnt umber and earth colours as I don't want the objects to be too warm or overly sympathetic.
Need some acrylic thick impasto to develop the feel rather than the spacial.

Better than expected so far. Uses lots of paint. Got space in it, not enough emotion or drama. needs contrasts as well as harmony.

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David Bomberg

Studying his work from the Abbotts Hall Gallery, (Kendal) catalogue of the exhibition 'Spirit in the Mass' 2006 helps me to see that the balance of shape and fluidity of fresh brushwork colour is critical.
Am using his work to take a refreshed look at my landscape paintings so that I can build from a good coloured ground en plain.
Work looked at includes, 'Evening in the City of London' 1944 'Trendine in the Sun, Cornwall' 1947 and 'Farm by the Sea in Cornwall' 1948

Part of this evaluation and move forward is the confidence step to work with this knowledge of Bomberg, skills learned and emotional response to the landscape. My problem is over control. I need to use a longer brush, even if outdoors.
It would be easier to just complete in the studio but so much of the spirit of the place would be lost.

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I need to pursue a fragmentary piece from my work in process to see where this takes me. I like areas of the 'incomplete' where drawing or painting opens up ideas and juxtaposes the unexpected.

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Tuesday, 18 September 2012


Finished painting of a figure in acrylic has atmospheric qualities (fronted the Student online magazine)

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Painting on plein

After several forays out with prepared coloured grounds, I do like working this way BUT SEEING and structuring the work is still so essential.
What you don't get is the studies and options that emerge from lots of prep work. So profitable in opening up pathways .

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Location:Cader Idan,Llanfairpwllgwyngyll,United Kingdom

Classed as outdoor sketching?

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Tuscan hilltop village

No wi fi there! Retrospective evaluation:
Painted on castle Segliano terrace over several evenings before dinner. One evening a wild boar hunt was taking place deep below in the trees and shrubs.
Have used ochre and earth colours such as burnt umbre palette. Ochre toned village used against deep dark tones of forest to get the magical effect of my favourite place. It's works to create this but it's hard to paint in darkening skies against lights of castle.

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Monday, 17 September 2012

Atmospheric painting

Am enjoying this the most of all. I think it's the more imaginative elements because I've chosen a well loved place that I have a longing for. An Italian painter whose place I stayed in has told me to use linen for best work and not to compromise .

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Sunday, 2 September 2012

Project 1 Associations Pg 207

Interesting to try out coloured grounds other than those I have used eg: blue
It makes a huge difference as the optical effect is remarkable if one is careful with the later paintwork.
Having spent a lot of time looking for shapes when I draw or paint, expressive brushless painting is experiential for me. Not sure yet if I have the effect I want but I do love the feeling of the paint using fingers. I also love using a card or sponge though I prefer to be sparing with these rather than profligate!
Need to add acrylic medium to engage further with the expressive qualities of the paint than with the subject.... Must try.

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