I have been doing work in dry media recently after a notice appeared, from the landlord of one of the groups I attend, decreeing that paint should not go down the drain in the building. Despite my protestations that this was a ridiculous constraint for an art group nothing has changed. I even asked the secretary of the group to find out from the landlord what their concerns were and told the secretary how we might reduce blockage risks, but he seemed more concerned with defending the landlord than serving the club and its members – and he still hasn’t got back to me .
Now, after seeing members of the committee disposing of paint down the drain, I might restart my acrylic work. Anyway, before my blood pressure rises any more, here are the rest of my paintings:
This is a modified painting which I posted some time ago. When I first posted it I had some reservations about certain aspects. Then, the other day as I was searching through some old paintings, I came across it again and took a moment to reconsidered it and realised that my issues could be addressed. One problem was the central tree which I modified and then I enhanced the main field and strengthened the top field. It may have moved away from the original scene, but it was a bit of a combination of views in the first place, broadly based on the Wear Valley in Durham City.
I wanted to try some more townscapes and get a little more rawness into the image. This is one of Liverpool with the Liver Building silhouetted in the background. I have done this view before and put it on the blog, but getting figures in this time and making them prominent gives the image more depth and vitality.
Just wanted to try this scene in pastels. I liked the light and the complementary green and reds to which I added to keep the rhythm going. The figures seem a little stiff now that they are up on the screen, but I was trying out a subject that was more than a life model pose and which contained some context. This is something I would like to explore further.
I was thinking of getting my oils out for this one but decided that first I might just sketch it out in pastels, and here is the result. I certainly like the lost and found edges lending an air of mystery to the piece and the way the land dissolves into the atmosphere.
I took it from a couple of photos combing the best bits although I am a little unsure of the darkness that pervades the bulk of the image even though, as I keep telling myself, this is necessary to state the highlights.
At one life group I attend they seem to make things as difficult as they can to work. Here they insist on two models who then turn up late and before the main pose the group decide to do some ‘warm-up’ sketches, as if there is some chance of pulling a muscle when lifting your charcoal. Then as soon as you get started it’s time for a tea break. This is what I managed. I did like the way the female sat languidly in the light, though I think that right knee of the male could do with a touch of remodelling.
This one, at a more organised session, was as much about taking out as putting down. I wanted a rougher feel to the work and think I got it.
Finally a more staid pose, but the turned up foot posed some difficulty.