In the late rush for replacement paintings to populate the exhibition, I reworked this image which I posted a few years ago. I tried to better meld the buildings with the landscape and simplify the foreground to enhance the feeling of stillness. Whether I did or not, who’s to say, but it’s up on the wall now and a feeling of calm has descended upon my studio allowing a tidy-up for the second time.
A few loose washes and plenty of splattered masking fluid got this off to a good start. I wanted the smokey luminosity of low autumn sunlight and it seems to have worked at least for the top half. A very similar subject to an earlier painting I posted , but not surprising as they both were from images taken on the same day, but I like the air of mystery in this one.
Following on with my woodland series and again featuring the golden birches amid the conifers. I dont think the yellows and oranges work too well against the dull greens so some of the punch is lost. Perhaps I should have reserved more white. Anyway, you can but try.
Last Saturday the weather was bright and I got off the train a couple of stops early on my return from the morning life session in Liverpool. I walked back through the woods. With the birches resplendent in their yellows and oranges I took a few photos as I walked home. This painting was a view at the end of my walk with a couple of figures borrowed from another shot. In hindsight I should have given the man the dog, so it stands out in the light. I might try a few more images from my walk.
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.
Another from my early morning ramblings. It was around here later that my tyre got punctured and I was faced with a 3 mile walk home when I found out that my repair outfit wasn’t complete and I didn’t have a spare tube. I suppose that’s what can happens on your first outing of the year. I think I’m more organised now – even had the bike serviced.
I often cycle through these woods and the light on a sunny day gives great contrasts. I’ve painted it before but felt the result was a bit stilted. So I was suckered in the other day and decided to have another go.
Still not sure. Perhaps I could get the darks a bit darker. I’ll ponder on it for a few days.
The other evening I went out painting and on my way back, as the sun was setting, I took this shot. The light coming in low, lit up the grasses and vegetation. I’ve tried to paint something like this before, but when you’ve got a nose-diving sun, the only way is a photo.
These little lanes cross the fertile reclaimed marshlands, travelling inland. This one is particularly narrow and lorries have slipped off the verges and rolled into the fields before now – probably in the act of following their sat-navs.
Whilst out painting one morning I cycled back home through the coastal pine forest which runs between the railway track to Liverpool and the local airfield on one side and the sandy beach on the other. There aren’t people around at that time and the forest is still, warming under the first rays of the morning sun.
Last week as I was cycling up and down Segars Lane taking some photos of the moss for the painting I put on my blog the last time, my eyes caught a flash of light as I went past a drab collection of farm buildings at White Otter Farm. The buildings close to the road were in shadow, but the farm yard bisected the cluster of buildings and the low light, from the far side, illuminated the yard, bouncing off the puddles and sending open doorways into deep shadow. I had to stop down the lane, wait for a tractor to come by and return to check it out. The tangle of shapes and tones were fascinating and I took a load of shots.
I thought that it would be a complex painting to do, but it almost painted itself. I did most of it in a morning and finished it off the next day. I suppose it is the interplay of the complementary colours in the foreground with the dash of another set of complementaries at the far end as well as the interlocking shapes.
I didn’t realise a muddy farmyard could be this beautiful.