the end of year festivities and ringing in 2017 were all very sedate for me this year. after my last blog post I developed pneumonia and was poorly throughout the holiday period. happily, family and friends took very good care of me and I’m grateful for that. I’m fully recovered but my drawing mojo went walkabout which worried me. I needed to find a way back to regular studio practice.
being part of a large artist community on facebook meant I didn’t have to look too far for inspiration. a friend and marvellous artist François Dupuis posted a drawing every day last year drawn in a small moleskine notebook. our work is very different and my intention wasn’t to emulate but it seemed a good way to get back into some drawing rhythm. little and often. and I had an empty lined notebook “not moleskine” in the studio!
and gathering energy I now have a shop where some of my ink and chopstick drawings are available and can be bought directly. I will be adding to and updating this regularly.
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.
a little later than planned, my new year post. wishing you all a healthy, peaceful and creative 2016.
december in the english countryside, dead pheasants are hanging everywhere. on people’s front doors and gates, left by someone who’s shot too many and thinks the recipients would be glad of a roast. yes, a little shocking but true and there they are hanging in all their beauty or lying on the side in someone’s kitchen or at the butcher’s. they run across the road in front of cars in the lanes, no flight, a stupid weaving like a drunk across the path of oncoming cars. everywhere and I didn’t think about it really except that I find them beautiful even when no longer alive. for awhile at least. and there’s a tradition in ‘art’ to paint them. my sketchbook is full of them. here is a selection of monoprints, drawings and paintings. I’m wondering what it means and hope to find out as I carry on.
I’ve had such a busy summer I’m practically tripping over myself as I realise it’s October already! playing with colour and texture, marrying linocuts with paint, paper and ink. here is a selection of linocut prints from the last 3 months
I’ve been looking at composition, and making studies with ink, chalk and charcoal
I’ve done some painting too and this is my favourite from the summer’s easel
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.
the first portrait I made for the resting eyes series was my youngest daughter who is a musician. she appears again to celebrate the release of her new single, Our Girl, together with her two band mates, in the latest drawing in this series and the first to include more than 1 person.
walking the dog in the english countryside I am struck by the quiet and emptiness of many of the farm buildings I pass. many of these buildings don’t fit the methods of modern agricultural practice and are left to decay. often too, economic factors mean no money for maintenance. I have made sketchbook drawings and paintings exploring these abandoned farms with their absence of activity. I plan to continue with this theme and create a new series of work from it.