Art Review 2013

Happy New Year!

Looking back and reflecting has always been part of my way seeing through the transition of one year into the next.  Rather boldly and publicly, on this blog, I outlined 6 New Year Resolutions at the beginning of 2013.  Now I have to review whether any of them came to fruition!

1. Work smaller scale -  my work generally has been on a smaller, manageable scale.  However, I did also toy with the idea of a series of very small paintings based on local landscapes around my village, but have not done a single one!
2.  Work more from life - I have definitely done more work from life this past year.  Paintings have tended to be connected with the classes, but sketchbook work has increased greatly.  Making use of those small allocations of time creatively has helped me stay connected with my personal inner artist as well as honing skills and observation.

Bird studies - observing through the kitchen window.

3.  Close Inspection, initiate a series of work based on close up textural surfaces - this has not got off the ground, although I have continued to photograph areas of abstracted texture.  Maybe the answer is to set up a Flickr account and keep them just as a photographic series?
4.  Seasonal, initiate a series of work based on still life fruit and vegetables - this has not really spilled over into my personal work, although it has remained part of the class programmes and is an element I always enjoy.

Winter squash painted in sketchbook, couldn't resist the colouring...

5.  Act on opportunities and interests, don't put things off - this aspect is an ongoing work in progress.  I am definitely an 'ideas person' and generate so many, not all of them practical, that sometimes I need a bit of time to pass to assess which are viable.  I have found it really helpful to write down ideas in a notebook, and have even ticked off a few from the previous year.  In 2013 I finally entered the Eastern Open Exhibition and despite not having anything selected really enjoyed the work I did make for it.  I organised a bag for doing sketchbook work when away on holiday - France was more successful than Rome.  I treated myself to a camcorder, filmed work in progress, and set up my YouTube channel.  In November I took on the role of membership secretary for the West Norfolk Artists Association and have already had an article published in Update (the monthly newsletter) titled 'Making the most of Your Membership'.

I feel this resolution has been instrumental in making me have a more proactive outlook.  (Plus it will have repercussions into 2014 - more on that in my next post).

Camcorder set up - ready for action!

6.  Website - I periodically tried to get my original website on track.  However, images of my work have sailed off into the wide blue yonder and the whole thing does not seem very 'user friendly'.  In the autumn I signed up to Weebly and have been slowly building a free website, and have a fair amount of pages / galleries done but it is not yet 'published'.  I wonder if I am trying to be too ambitious, too soon.  This website will showcase all the media and genres I incorporate into my artistic life.  I would also like to organize a 'shop' but that may have to come later - better to go 'live' and see how it operates in public first.

So, some successes and inevitably a few non-starters.  Why not 100% success?  With hindsight I was probably over ambitious in my expectations, but human nature plays a big part.  I am sure many of us make resolutions and most of them will have fallen, been broken or completely fail to get off the ground before January has even passed.

Did you make any resolutions in 2013?  Try a review - and then make some more for 2014!!!

Happy New Year! 

Christmas 2013

Merry Christmas!

Fun with Pen and Wash

Winter Heather and Statue, 32 x 24cms
Edding permanent pen and watercolour
on Fabriano 5 HP watercolour paper. 

I think the most popular media this Autumn Term, in the Mixed Media Class, was using pen and wash.  I planned two sessions - one either side of the half term break.  The first was using a permanent pen, which leaves a fairly uniform line even when using a 0.7mm.  The second session I introduced a dip pen and Indian ink which enables flowing calligraphic lines, and a more hit-and-miss approach.  I find the loss of precise control can lead to bolder, fresher work.  Whichever method, many people like to start with a simple pencil drawing to establish the composition, it gives confidence when starting with the pen as it cannot be erased - so any mistakes have to be incorporated and lived with! I suggest setting off with a bit of urgency when first going over the pencil lines in pen, working too slowly and deliberately can produce a very static line.  People are often surprised at how they unconsciously go on to embroider more details once they get going, and with surprising confidence. At any point the pencil lines can be erased to leave a clean pen image before introducing passages of watercolour.

The subject was quite open in that I suggested 'holiday' as a theme for exploration.  This could range from the broad holiday view of a scene captured on camera as a memory, to a close up detail of something of interest.  The example I worked up for the session (I usually photograph the stages and print off to show the progression) shows a weathered stone statue from a winter walk last year, the heather framed it so beautifully.  The cropped close up view below shows how I had to think about what sort of marks could be used to portray the various textures.

View close up - variety of marks to describe various textures.

For the session using the dip pens and Indian ink I chose to incorporate working from still life.  As an added interest I suggested looking at the illustrations used to advertise Worzals, a local garden centre/farm shop/cafe.

Adverts for Worzals Farm Shop.

Studying these illustrations closely showed not only the beautiful quality of line but also that some printing had been done using actual leaves etc.  A marvellous opportunity to have a go at another approach...

Calligraphic lines using a dip pen and Indian ink,
plus some leaves of the purple sprouting broccoli painted with ink
and used to print on Fabriano 5 HP watercolour paper. 

Ink painted onto head of purple sprouting broccoli
before used to print texture on the paper.

All very hit-and-miss,
loose lines added to enhance leaf prints, ink blots welcomed!

Watercolour washes added - free approach kept going
with paint not restricted by line and more spatter.

I also had fun with a second offering,  I couldn't resist these beetroot when I went shopping.  I think my enjoyment of the subject matter and treatment shows in the work itself!

No pencil drawing this time - straight in with the dip pen.
Beetroot cut in half to make print bottom left.  Brush also used to add ink as shadows. 

Watercolour washes added.

The feedback from the sessions was very encouraging and in the final session of term, when members can work on something of their own choice (or finish off work from previous weeks), many opted to have another go using one of these methods.

I also had another stint using the dip pen recently, this time with Quink Ink.  When diluted with water this ink tends to separate out into blues, greys and ochre - all by itself!  It is perfect for using in sketchbooks, but be aware that it is not very lightfast.

Studies of natural objects with dip pen and Quink Ink. 

A look back at sketching in Rome

Ooops, apologies for the long gap since my last post.  With hindsight I often think, 'oh I could have blogged about that'.  The secret is obviously to post little and often.  Well, that's one New Year Resolution decided!

Sketching at the Trevi Fountain, Rome

At the end of October I had a fantastic 4-day break in Rome.  I had high hopes of all the sketchbook work I would get done - buildings, ruins, cafes, piazzas and fountains...  Well, that was rather ambitious in the end. Paul and I went with two friends and had a brilliant time, Rome certainly exceeded expectations, but there was very little time to pause and paint.  I amassed lots of photos which may come in useful at some point, but admit I am disappointed that I failed in my mission. However, here is my meagre offering...

On the aeroplane...

 

Ruins, but it was the Pino (Pine) tree that attracted my attention

Rapid sketch in Moleskine sketchbook with Edding pen 

We managed to see all the big sights - the Vatican and Sistine Chapel, St. Peter's Basilica, the Roman Forum, the Coliseum, the stunning National Monument to Vittorio Emanuele II, Trevi Fountain and much more.  Lots and lots of walking, but I have never been to a city with so much history in a relatively small area.  It is said that if you toss a coin in the Trevi Fountain it ensures you will return to Rome one day.  We all obliged, but I really would love a return to this amazing city (with a bit more time to actually slow down and get some sketchbook work done).

Tomorrow I will introduce a few more pieces of work done recently and between Christmas and New Year I shall review the Resolutions I made at the beginning of the year - it will be interesting to see how I've done.   

Time Lapse Video - Watercolour of Mountain Gorilla

Through the Looking Glass, watercolour, 75x58cms

The Eastern Open 2013 exhibition opened at the weekend and the photo above is of large watercolour painting I entered.  Unfortunately neither of the paintings I put forward were accepted but with a large number of entries from 7 counties I am only one of many who received rejection slips.  However, having experienced the task of being a selector for the WNAA Summer Exhibition on two occasions I have some insight into the whole process.  I would encourage any artist to take up the opportunity to be a selector/curator if the chance is there - you will certainly never take rejection personally!  Fortunately all entrants to the Eastern open have their postcards displayed for sale in the Old Warehouse.  I popped along to the Art Centre yesterday to have a closer look at all the work and the exhibition does have a cohesive flow to it, with several stunning artworks on display.  It is good to see so many drawings selected.  The Best in Show went to a photograph.  It was interesting walking round and trying to visualize if my work could have sat in amongst them.

Anyway, I thought you might like to see the process of this watercolour painting as captured via a time lapse film.  The original reference photograph I took at Bristol Zoo last month.  I was lingering in the indoor area of the mountain gorillas when this big silverback ambled right up to the glass where I was standing and hunkered down for a few minutes.  I was fascinated by the animal itself but also with the reflections in the glass.  Once the painting was finished, although I gave it an official title, I always mentally referred to it as Egghead!  You can probably see why...   

Drawing on full sheet watercolour paper, Not surface

The following time lapse film is in 2 parts - I have yet to learn how to join the two sections together (I couldn't see how to do it directly in YouTube, think I might have to find a video editing programme to load on the computer so I can add titles etc.) so I do apologise.  I did discover how to add audio, Part 1 works fine in terms of duration but Part 2 finishes rather abruptly.  Hope you enjoy my efforts anyway - it's all a steep learning curve.

Part One

 

 

Part 2

Not sure if this painting will be seen in an exhibition any time soon - but I had a great time creating it!  If you are in King's Lynn between now and 30 November I do encourage you to visit the Eastern Open 2013 at the King's Lynn Art Centre www.kingslynnarts.co.uk.  Enjoy the selected work, and see if you can spot my two postcards, on sale for £20 each.

Postcards for Eastern Open 2013

Mountain Gorilla, pen & wash, 10x15cms

Thought you might like a peek at the two postcards I have submitted to the Eastern Open 2013 exhibition.  Any day now I will receive an envelope to say whether the bigger paintings I entered have been selected or not.  To be honest I am expecting rejection - artists from across 7 counties send in work - and I'm not even sure I have seen animals in the final line up in previous years!  However, the postcards get shown in the Old Warehouse Gallery regardless of whether other work gets chosen.

The one above was from a photo taken at Bristol Zoo.  I did spend quite a bit of time trying to decide how to approach this task.  Should I prime the card first?  Which media could I use?  Should I create actual texture?  How could I create a unique, more contemporary piece on this 10x15cm postcard?  I have seen some very inventive creations over the years...  As time passed this task started to become more and more 'precious' and to grow in importance, but time was running out.  My inability to make a decision and get it done was making me feel increasingly irritated.  Eventually a little voice of reason surfaced - "keep it simple".  So that is what I did.  I grabbed an Edding pen and jumped straight into drawing (no pencil, no safety net) and with the photo before me I pretended I was sketching the live animal.  Using a medium that cannot be altered forces a certain amount of bravura.  I even used my travelling watercolour brush for the loose watercolour washes.  Hooray! One down, one to go...

Ring-tailed Lemur, pen & wash, 15x10cms

This is the second offering.  Again, my reference was a photo taken at Bristol Zoo.  I kept the same brazen approach of swiftly drawing with pen before applying the simple washes.  This little sketch makes me chuckle - the innocence of the foreground character on the left, totally oblivious to the wicked looking creature behind who is about to launch an attack by all accounts! 

I shall keep you posted about my other painted entries and chat about the work once I know what is happening.  Will they be hung in the Eastern Open 2013?  Or (most likely) come back to the studio without an audience?    


 

Preview Evening - Mari French

Mari French at the preview of her new exhibition, Beyond the Surface
at Greyfriars Art Space

A new exhibition has just opened at Greyfriars Art Space in King's Lynn.  Beyond the Surface is an aptly named exhibition of extraordinary contemporary mixed media paintings by Mari French.  I attended the preview evening yesterday, the gallery was buzzing and I came home feeling energised.  Her inspiration is mostly from the landscape of the Norfolk coast and the moorlands of North Yorkshire but there are also a few paintings of the decaying buildings in Venice and two impressive interior interpretations of Castle Rising.  Mari's work varies in scale from metre square canvases to smaller intimate pieces but they all share the same qualities of atmosphere and texture.  The paintings are multi layered with texture paste, acrylic and sometimes open weave fabric gets trapped and embedded.  Tools are used to scratch and scrape, revealing colour from previous layers, and marks applied with the transfer of paint from items like bubble wrap.  A delightful visual feast, beautifully orchestrated.  The work is essentially abstract; the viewer can bring their own imagination, experiences and interpretation.  There are passages of bright light and high contrast suggesting sunlight bouncing off the water filled dykes between fields and the creeks of the saltmarsh.  Others have muted sweeping vistas and a brooding tension, you can almost feel the wind whistling across the expanse of moorland.  Evocative is the word and I love this exhibition!

The exhibition opened today and is on until 5 October 2013.  The gallery is open Monday to Saturday 10am - 4 pm (www.greyfriarsartspace.co.uk) and you can find out more about Mari and her work at www.marifrench.com.  I urge you to visit.  Mari will be present most of the time and will be more than happy to chat about her inspiration and techniques.

Winner of Peoples' Choice Prize!

Prize for the Peoples' Choice!

I was absolutely thrilled yesterday to discover that my monochrome acrylic painting Pattern of Light in the WNAA Small Works exhibition was voted as the Peoples' Choice.  It's the first time I have ever won anything for my art!  I was the lucky winner of this gorgeous Derwent box set of Sketching and Drawing Pencils.  A big 'thank you' to David Cook for his generous donation of this quality product, it is very much appreciated and will certainly be put to good use.  I believe eight works of art were sold - including my Pattern of Light.  Once all the work was removed from the walls several of us had the task of painting over the coloured squares with white emulsion.  This involved at least three coats over the strongest colours, but it was very satisfying to leave the gallery as a clean blank canvas ready for the next exhibition. 

The Wildlife in Art 2013 exhibition finished at the same time and although I have had some lovely comments about my two paintings they did not sell.  I am considering entering them for an online art competition at the Light Space & Time Online Gallery which I came across recently.  They are taking entries for the 3rd Annual Animals Online Art Competition.  Go to www.lightspacetime.com for more details.

Encouraging words about your artwork, the sale of a painting, the recognition of an art prize, however big or small, are all confidence boosters to be savoured - and remembered during the times when doubts creep in or inspiration and motivation seem to have deserted you.  The highs and lows of living a creative life...

Exhibition Round-Up and First Effort at Time-Lapse Video!

WNAA 'Small Works' exhibition in Shakespeare Barn, King's Lynn

The latest art exhibitions at the King's Lynn Art Centre are now in full swing.  All four galleries are showing work by local artists - so much talent in West Norfolk!  I have already done several sessions invigilating and always enjoy meeting visitors and getting feedback on any of the work on display. 



Pattern of Light, acrylic on canvas, 30 x 30 cms
My painting with selected grey background square in the
WNAA Small Works exhibition

Almost everyone comments on the novel approach to display in the WNAA Small Works exhibition.  I find it fascinating to see which colour each artist has chosen to enhance their work.  It is amazing how each becomes a little jewel in its own setting.  We have had a few people asking what the accompanied paint colour is called (perhaps inspired to use it as a feature wall in their home?) and in a previous year one artist who sold his artwork was invited to paint the square too.

'Wildlife in Art 2013' exhibition in The Fermoy Gallery, King's Lynn

A very different display for the Wildlife in Art 2013 exhibition - not an easy task to create an exhibition that flows with such an array of media, styles, shapes and sizes.  Congratulations to Peter, Ann and David - you did it!

In the photo above you can just about make out my owl painting.  I treated myself to a little camcorder a few weeks ago and made sure it was one that had a time-lapse recording function on it.  This enables a long period of time to be condensed into a much shorter time frame by only capturing snatches of images at pre-set intervals.  I have had a go at this while painting Monty: Eurasian Eagle Owl.  I am offering this short video to you for viewing, but apologize for any frustration it may cause - unfortunately I ran out of battery before I even started working on those gorgeous orange eyes!  I had been playing around with the camera and getting used to the various functions; I should have charged the battery before filming the painting session.  Learning a lesson the hard way...

To try and make amends I finish with a photo of Monty: Eurasian Eagle Owl.  My original reference photo was taken when Paul and I were in the Lake District and while exploring Kendal we came across an owl recue association promoting their work that had some of their magnificent birds with them.  Paul had the opportunity to have a large leather glove on his fist and Monty sat there quite content while I took some photos.  We left a healthy donation to support their work!

  

Monty: Eurasian Eagle Owl, acrylic on canvas, 
(copyright Tod Evans) 

The exhibitions at the King's Lynn Art Centre www.kingslynnarts.co.uk continue until Sunday 15th September, closing at 5pm, so if you are visiting the area I urge you to go along and have a look - there is something for all tastes and you will definitely come away inspired.  You may even be tempted to purchase some original art to hang in your own home.

Street Art in Bristol

My daughter standing by a painting on the wall of building
in Bristol

No, I haven't branched out into yet another form of painting!  At the weekend we went up to Bristol to see our daughter and on Sunday she took us on a stroll down to Harbourside through one of the areas which has an abundance of incredible street art.  Some people consider it graffiti, but much of the work is very skilled and definitely comes across as art.  Bristol has quite a history of street art, with Banksy probably being the most well known.  In recent years the movement has become more professional and organised and in August 2011 an event titled 'See No Evil' was arranged.  More than 30 artists were involved - international as well as local - with space on the buildings matched to the style of individual artists.  As far I am aware a similar event now happens each year, I recall Charley mentioning seeing it in action earlier in the year.  The area we walked through is mostly run down 60's buildings but the artwork is certainly an attraction with many other people standing in awe.  Street art in Bristol is in a constant state of flux and even as we walked we came across two young men starting to work on a freshly painted hoarding around a worksite.

A new work in progress...

There didn't seem to be a reference image they worked to, although I did see one of them paint out a line he wasn't happy with (using the same colour as the hoarding).  We took the same route back home and I looked forward to seeing how the work had progressed.

Still putting finishing touches

This seemed quite abstract in nature but much of the work had more figurative elements...

       

 

 

 

 

 

 

 

 

 

 

 

I would love to see the artists in action whilst they create a huge vertical painting down the side of a tall building.  By all accounts they wear harnesses and dangle down from the roof.  What intrigues me is - how can they 'see' where they are going when the scale is immense and they are so close to just a fraction of the work at a time?  Maybe the image is projected onto the wall and then painted over?  If anyone reading this knows the answer please get in touch and let me know!!!  I have no intention of picking up spray cans and and dangling from roof tops myself but, as you can probably tell, I found the work fascinating.   

Wildlife Painting in Watercolour and Gouache

Reference photo and drawing 

 

This delightful little hedgehog (hoglet as I believe the young are called) was a visitor indoors for one night last year, after we found him cold, wet and shaking in the grass following a horrendous day of pouring rain.  He spent the night in a large plastic box with newspaper on the base and a small towel loosely wrapped around him.  With some water and tiny portion of cat food he was left in peace and we feverently hoped he would last the night.  The following morning as I approached the box I could hear snuffling and shuffling noises followed by noisy chomping.  When I peeked in he was polishing off the last bit of cat food!  (It sounded like he was chewing with his mouth open).  He looked totally revived and we gladly placed him back where we had found him the previous evening.  On checking the area later in the day there was no sign of him, so hopefully he was fine. 

 

This painting, I think you will agree, is totally different to the monochrome canvas I showed you yesterday.  It was so enjoyable to do.  The majority of it was completed yesterday and today it was a few finishing touches.  The pale hairs on the cheeks needed pushing back with a very diluted dark wash.  Selected areas had more strong darks to make them recede.  Gouache has a tendency to darken and sink in once dry so some of the brightest lights were stroked on again for emphasis.  I shall let the photos show how this painting was built up in layers...  





 

Loose pencil drawing as guideline

Initial variegated watercolour washes over subject
and background

Continue with large round brush to introduce more
defined underpainting

Building up the layers, still watercolour

 

 

Background lower left strengthened to integrate
 hedgehog with background, also spatter for visual texture 

Now the fun starts - white gouache, tinted with watercolour,
for finer hairs and thick pale spines

Detail - translucency of watercolour and opaque nature of
gouache work beautifully together

 

Protection, watercolour and gouache

I am planning on entering this painting for the Wildlife in Art Exhibition which is also at the King's Lynn Art Centre, and runs parallel to the WNAA Small Works.  Hmmm,  I'm wondering now if I have time to create one more piece of work for it...  I have a lovely picture of a European Eagle Owl (taken during our trip to the Lake District - a rescue centre had a fundraising event), or camels at Banham Zoo... or what about the pheasant photographed on the patio last winter?

So many pictures, so little time.  If you are feeling inspired, don't make excuses, get cracking and who knows where it will lead?

 

Monochrome Painting in Acrylic

Polystyrene plate as palette for acrylic

Do not adjust your screen - the colour has not malfunctioned - I have been painting using just black, white and a smidgen of yellow ochre for this latest canvas.  There are two exhibitions fast approaching and I am frantically trying to complete work as suitable entries.  This piece was from a photograph I took two years ago on a visit to Narborough Hall, here in Norfolk (www.narboroughhallgardens.com).  The house was open, hosting an exhibition of work by Andy Warhol.  As I wandered round with my family my eye was caught by the gorgeous pattern of light filtering through the greenery outside the window, across the tall backed chair and splashing across the wooden floor.  The photocopy I printed off was originally in colour but I wondered what it would look like in greyscale.  I was inspired and couldn't wait to get cracking.    



Almost ready to paint the best bit...

I started with a diluted wash of black and then with a slightly darker mixture drew the basic composition using a flat hog bristle brush.  I find this approach prevents me from getting too tight and fiddly.  From this point I started with the back of the chair and then outwards, manipulating the tones from mid grey (sometimes warming the mixture a little with ochre) to the darks, which I kept transparent, through to the bright white.  As you can see from the photo above I saved the best bit until last.  Below, you can see how the opaque white shapes of the sunlight on the floor bring this scene to life!

Pattern of Light (Narborough Hall, Norfolk) acrylic on box canvas, 30 x 30cms

The West Norfolk Artists Association exhibition is titled Small Works and this is the third year it has been held.  The venue is the Shakespeare Barn at the King's Lynn Art Centre, an impressive large gallery space with white walls.  Small Works was conceived by Andrew Schumman (a member) who was interested in the rich painted walls of galleries in the past.  His idea was an exhibition where artwork measuring exactly 30 x 30cms would be displayed around the walls all on a midline, and equal distance apart.  Each artist chooses a rich colour to paint a square 60 x 60cms on the wall, within which the work is centred.  This format creates a stunning display and every small artwork is enhanced and becomes greater with a personalised backdrop to show it off.  The overall effect is quite dramatic.

Last year - the WNAA Small Works exhibition

This small painting was started at 4 p.m. on Tuesday afternoon and I became so engrossed that I kept going, until suddenly, it had reached a conclusion and I stopped.  It was 8.30 p.m.  Four and a half hours had passed!  My only problem now is choosing a colour for the painted square to set it off to best advantage.  Below you can see how I am using Farrow and Ball paint charts to try and make a decision.

Almost 'fifty shades of grey'...

Have been back in the studio again today working on something completely different, but I will show you that tomorrow...