I have been working on a more involved painting of late, that, and family visits, have held me back, so all I have to show are my recent life studies done at the sessions I go to.
I am finding the poses very tedious and not very demanding or imaginative. Too much sitting stiffly in chairs for my tastes. I did get my oar in last week and managed to set the pose and got Arthur in a lying pose.
At least we had a different angle to work from, though I dont think I did it the justice it deserved.
Then on Saturday the organiser was sorting out something interesting when someone came in and made a request for a sitting pose with Eve reading. I wonder if these people ever look through the drawings they’ve made and see sets of identical drawings with people in the same pose.
And another sitting figure. This guy moved the hand that rested on the thigh and had me making changes, not realising what he had done, that ended up with a rather swollen thigh. At that point I gave up and got the early train home.
This was another response to to the forest walks we went on, described in previous blogs. In fact I completed this one before the last blog I posted. I tried some sketches first in pastel and in the end decided to combine them all for the final piece.
Any resemblence to Mondrian’s Broadway Boogie Woogie is coincidental and I did get increasingly aware of it as I built up the painting, with its lines and small blocks of colour particularly as he did some very inspiring trees as well – well worth a look at.
I apologise for another version of sunlight through trees on consecutive blogs, but in mitigation they are in different media.
I mentioned in previous blogs about walking with a group of French visitors who had come to Southport. On the Saturday we had a sunny walk, taking lunch on the beach at Formby. I posted a painting I did of the scene on 24th October. This is another painting based on views I saw, that day, on our way to lunch, walking through the woods to Formby and then on to the beach. I have done another, very different version of these woods. I’ll post that in my next blog.
I tried to keep this painting very loose; spraying the paper with water and then throwing paint into the dampened area after which I then drew into and painted with a brush. As I was building up layers of paint I spayed in masking fluid both on dry and damp paper at differing times of painting, so the masking fluid covered different colours and tones.
The other week when I went to get some reference material for an upcoming show, low morning sun-light exploded in between the leaves and branches of the willow trees which sat in the drainage ditches along the road I travelled on. Fortunately I had my camera beside me and I was able to snatch a few snaps. Even better was the fact that I managed to keep the car on the road at the same time and no passing motorists were harmed in the taking of these images.
I have been assembling and framing the paintings for the show and will be taking them in next week for hanging. I had forgotten about these images until I came across them the other day when I thought that I might make something out of them.
I did the original sitting by the river at the end of June and posted it at the beginning of July but thought that it might be worth having another go in the studio. I loved the different levels the river had created and their shadow lines and the light reflecting off the damp mud. I also scattered some animals about, all of which I had seen as I walked along the river. Having climbed over a fence to get there, solitude and calm abounded on this still summer’s morning.
Well, I did say I might do it. A couple of blogs ago I showed the mouth of the Mersey from Formby where last weekend we sat in the sun and ate our sandwiches with our French friends. This was the next day, in south Liverpool, looking across the river ( as opposed to the estuary, the day before). The weather was also different: the rain forcing us to eat our sandwiches in the car. Still, we had a walk and returning to the car the sun was breaking through the clouds in the late afternoon, highlighting the tops of the water’s ripples and contours of the exposed mud.
I wanted to do a townscape with a little more edge. This is based on Hope Street in Liverpool with a lot of paring away and more reliance on colour. I did the same scene in 2014 in a more conventional way when I started to do a set of Liverpool nightscenes. I exhibited a few but didnt get much response, though this one sold.
I feel the new version still lacks presence and I need to let go looser when building up the backdrop – so back to the drawing board, or in this case, canvas.