I was taken by the image of the three sunlit boats against the shade of the harbour wall, but despite mixing colours on the paper the harbour wall has come out rather dead and there is a lot of it. Well, I thought that it was a good idea at the time.
The old tracks and roads which crisscross the Moss behind Southport where I live start to heave and bend as the land around dries out. The poles which adorn the roadside then tip like dancing men. Here is a typical path which disappears out of sight done in pastel.
Well, the opening of the Artists and Illustrators 2017 exhibition last night in London, just off Trafalgar Square. No coconut I’m afraid, but it was a good experience. Thanks to those who casted a vote for me.
I did notice my painting was the cheapest there and by quite a margin. Maybe everyone costed in their trainfare. But I am taking the opportunity to look up old friends and relations, so it has been and will be a good trip.
You also get a better feel for what it is that they are looking for. So maybe next year. In the meantime I’m looking at a solo exhibition in April. I’ll need to get back home and do some painting.
Ever taken on a project that has turned into long running saga? Here’s mine – after months of work. I wanted a large piece for a stairwell on a sea theme. I was intrigued by the structure of waves in water where, within each wave, there are other levels and wavelets – the notion of fractals and ever repeating patterns and forms.
As I built the piece I was taken by the anthropomorphic array of the blocks, reminding me of serried ranks of Chinese warriors or in this case the throngs who try to cross seas in search of some form of a normal life. The colours perhaps reflect the failure and success of these individuals.
The wooden blocks were made from a couple of gates that I replaced. My neighbour didn’t want any more of the wood for their stove as the paint on the wood generated a lot of ash, so I took to cutting it down into strips to make the piece. It had an extra kind of resonance that the work is made from a gate.
After all this time, and having been able to mount it on a wall, I think it could be modified further, for better impact, so I fear it could be a few more months of work yet.
There was almost as much paint removal as actual painting in this one as I tried to get the dark textures in the foreground. I added some figures at the end which do draw the eye through. I loved the dark shade leading out into the bright light.
Three figures from recent life sessions, two in acrylic and one in pastel. The top one was playing around in blocks of colour and I decided to reintroduce the background into the figure. I then added more blocks outside and a feeling of disintegration developed.
I had a number of photos of boats in the small harbour at La Val Andre in Brittany and wondered how they would look in an elongated format. I was taken by the two red boats (off different photos) against the grey green of the water.
I was caught by the orange hull against the blue of the water. I thought by bluing out the background it might further highten the effect of the light on the central boat. The painting is actually bluer than this image suggests. I also like the shot of red on the adjacent boat which brings in some dissonance to the basic complementary pairing and as such I haven’t echoed it anywhere else.
We were driving across the moss behind Formby when the road turned sharp right and I caught a glimpse of the fields ahead. The light on the puddles in the field immediately struck me. I decided to paint it from memory on my return home and here’s the result. Perhaps a few crows might give it some animation.