I was delighted to have this painting selected for the 165th Royal West of England Academy Open Exhibition! The exhibition is on from 1st October to the 3rd of December in Bristol with a rich and diverse selection of work on display, most of which is for sale.
Jackson’s Art interviewed me for their monthly blog this September and you can read a little more about my process and approach to drawing, painting and teaching by clicking on the link. Many thanks to artist Lisa Takahashi for her interest and insightful questions.
I’ve been part of Julia Kay’s Portrait Party since 2010. a group of delightful, talented people from all walks of life, all drawing each other in all corners of the world! it has changed my life in many ways, all for the better, too many to recount here. I’ve met quite a few of the artists in the ‘real’ world and hope to meet more as time goes on.
Portrait Revolution has just been published, a book full of inspiration, tips and techniques for creating portraits from people in the Portrait Party. I am delighted to be one of 15 featured artists in the book.
I found out today that two of my recent sketchbooks have been selected for the Rabley Drawing Centre Sketch 17 drawing prize and touring exhibition! one is Not Moleskine which I recently wrote about in this blog and the other is Unseeing and Now Broken. you can see my Facebook album with the drawings from this sketchbook here –
decay, appropriation, power, fallen regime, history, myth, nothing lasts. beauty does. looking at the Parthenon/Elgin Marbles at the British Museum. and other things.
the air has the smell of bonfires about it with the sound of crunchy leaves underfoot. the temperature has dropped to almost winter levels and we are on our way through autumn with darker afternoons and longer evenings ahead. as usual there is still a lot going on in and out of the studio but I’m wearing warmer clothes now.
I’m happy to be an invited artist in a group show, Shifting States, at Espacio Gallery in London from 29 November to 11 December.
I will be showing work that began in the depths of the Dorset countryside adjacent to the sea along the Jurassic Coast. Taking inspiration from Seamus Heaney’s poem The Loaning, an Irish word for a pathway between two fields, I used the landscape as a compositional tool to play with colour, texture, space and form. a sense of being betwixt and between informed the work resulting in the lines between representation and abstraction becoming increasingly blurred.
and I have work in 2 upcoming print shows: the Printmakers Council Loosely Bound 18 November to 1 December and East London Printmakers Festival of Print 2 – 11 December
In October I was delighted to have 3 pieces from my history painting series on show at the Wells Art Contemporary annual exhibition in the Bishops Palace, Wells, Somerset. they were selected by Justin Mortimer, one of the judges this year. Since I saw his portrait of Harold Pinter in 1992 I have liked and followed his work so it was a pleasure meeting him at the private view and I was happy to be able to thank him for selecting my work for the show.
16 days of open studios done and dusted. sales wrapped, prints packaged, visitors book swelled to bursting, hurrah! and not a single dog biscuit left. happy and grateful for the number of visitors who came, looked, talked and bought. a big thank you to my family and friends for keeping me fed and watered throughout. Dorset Art Weeks will be back again in 2018.
if you find yourself in London between the 3rd and 15th of March try to get along to see this group exhibition celebrating women’s history month.
I’ve spent the last week preparing and painting frames, wrapping drawings and working on a collaborative piece for the show. here’s a photo of the framed monoprints on the studio carpet, ready to go to the gallery!
The days are getting a little bit longer and I saw the first snowdrops of the year this morning. Happy New Year to you all!
Coming up in March I have work in a show to celebrate Women’s History Month at Espacio Gallery in London’s Shoreditch. A massive subject and overwhelming in many ways but really all history is Women’s History and all women affect other women. My approach is a stream of consciousness/interior monologue/mindstream, but in visual terms. A dozen women who have touched my life in some way, resulting in my own history.
I have some work with 11 other artists showing our own unique journeys into making art. each artist is ‘making seen’
the creative processes essential to the development of their work, allowing the viewer a glimpse into sources of inspiration. an invitation to see the ideas unfold, evolve and eventually develop into finished pieces.
Happy to be included in the Material World, 2 part exhibition curated by Shizico Yi, talented and energetic champion of the arts. wonderful to have an image in the catalogue (Catherine, ink and charcoal, from my ‘resting eyes’ series) with a write up about my work, by Imogen Eveson
I took my portraits to the gallery today for hanging. while they have been framed and wrapped waiting to go I’ve carried on with my abandoned farms. some drawings in my sketchbook
and three small paintings
I have two more paintings on the easel but am finding it difficult to get what I want from them. when this happens, as it does from time to time, I find the best thing is to leave it completely and focus on something else. I used up the paint on my palette with two quick studies of a gerbera and a cyclamen on my kitchen window sill.
I’ve added a painting to my resting eyes series which breaks the pattern slightly. This sitter is only using one hand to cover his face and is placed in a setting unlike the others. It is oil on paper.
and if any of you are in Toronto on the weekend or over the next two weeks you can see my work as part of Gallery 50‘s exhibition to celebrate the launch of their new space.