Sunday, September 28, 2014

Sky structure


Oil and acrylic on canvas board 16" x 16"

There is quite a lot of knife work in this painting, dragging the pigment raggedly over the surface but aiming to be constantly aware of overall shape. The strong green reminds me of my grandmother's house. It was her favourite colour and gates, doors, tables, all got the same green treatment.

Thursday, September 25, 2014

Saturday, September 13, 2014

The concept of (a) painting

I have begun to see that with no concept in mind at all it is impossible to start.  Defining "concept" though is loaded.  For the sake of simplicity let's call it the "basic idea" behind a painting, coupled with the emotional response to that basic idea. So it's thinking and feeling followed closely by visualising.  Because a painting is inherently visual.

 Many artists move from a more representational   (not necessarily "realist") point of view  to a deeply felt abstract one.   Pure abstraction has been equated with "Formalism" whereby - so the "experts" tell us it is the colour, line, form, texture, shape of the media on the surface which constitute a painting's value. In other words letting "visualising" lead. (You don't hear many painters say this by the way).  It's actually not easy to find on the Internet a list of so called  "Formalist" painters so I tried to work it out for myself.  Rothko, for example, or the English painter Ben Nicholson  started off somewhat representational (the latter with still life images and landscapes) but moved inevitably to what some would say was almost pure abstraction, very,  very simple lines, shapes and colour.  Picasso, Matisse, stayed more in the representational camp (a cow made out of bicycle handle bars is still quite clearly a cow). The work of Keith Vaughan (another English favourite of mine) shows a clear continuum from the representational  to the abstract arrangement of shape on surface.  But he could not rid himself like Nicholson and Rothko "appear" to have done of the demonstration of his inherent interest in the human form - and to some extent neither could Barbara Hepworth and her compatriot Henry Moore. But this is not to say Nicholson and Rothko were not demonstrating a facet of the human condition and I think it is dangerous to assume they were not. In a way I think they pushed as far as they could go,  the concept of our relationship with the world around us.  It sounds vague but I sense that those paintings could not "move" me (and they do) if there was not that underlying sensitivity to what it means to be essentially "human" on the part of their executors.  Let's not forget that all Hopper wanted to do towards the end was to paint the slant of light upon a wall, yet he had spent his whole painting life depicting people.  Maybe without the people there can have been no wall. Or not one we would have wanted to look at.

We must not forget there are two actors in all this - the painter and the viewer.  A painter's deep seated "concept"  may  lie as much in their subconscious as conscious mind. But the painter's concept is one thing.  The response of the viewer is a quite different thing.  We might appreciate a Matisse precisely because of the harmony and courage of colour, shape and line and care little for his motivation but Matisse may have seen it quite differently. We don't know and a few give away quotes from the literature do not really prove anything.


The painter's dilemma is always first "what concept do I have at this moment in time?"  If the concept  is - let me see how far I can push that line; let's see how far I can extend that shape or obliterate that detail - then fine but the line and the shape cannot simply be mechanically formed on the canvas, however "beautiful" they may be.  There has to be a history to them.  There has to be some emotion or deep knowledge in the making of that line or that shape.  For me painting has to be about an emotional response and to some extent that is what I am hoping for when I view the work of other painters. Does  that painting move me in whatever whispered, subtle or outrageous way it is possible to be moved? My concept has to serve that end whichever stage of the journey I find myself on.

For the few people who will read this do not be dismayed if you say to yourself "not sure what point she is making" because I am not sure either, just that I know these are conversations that as painters we should be having, not least with ourselves.

Tuesday, September 09, 2014

Objects on white


Oil and acrylic on cotton canvas board 16" x 16"


I grabbed an old board to re-use yesterday and this happened.  I honestly did not mean it to happen. It's so weird this painting lark. I mean where do I go from here.  The white stuns. It's pure titanium and on the original there is the very slightest, slightest, creamy tinge to it which I am pleased with. I also like that there are virtually no straight lines on this piece (maybe underneath the jug is the exception). The general lack of horizontality/verticality, imply for me that the objects could be on the point of moving? I did not "set up" this scene. I just looked at three objects that were lying about the room and brought them together to have a little conversation.

When I stood the board up to photograph it my eye was caught by a much bigger painting I did some months ago called "Drifter".  I did post this at the time but here it is again below..



Oil and acrylic on board 36" x 28"

It's definitely of the same family. That concentration on big shapes. Ah well, moving on, let's see where the next board takes me.

Saturday, September 06, 2014

Nocturne (re-work)


Oil and acrylic on cotton canvas board 16" x 12"

Have done a bit  more work on this since yesterday, reworking the whole thing to some extent. I wanted the white carnations to stand out more and now they do. As always the original looks better than the digital image. So hard to shoot dark toned paintings.

Thursday, September 04, 2014

Tuesday, September 02, 2014

Chips and peas (with a nod to Roderic Barrett)


Oil and acrylic on cotton canvas board 12" x 9"

Roderic Barrett was a British painter who died in 2000. I only became aware of his work a couple of months ago. His abstract painting "Three bowls" led me to this perhaps more "human" interpretation of a typical childhood northern meal of chips and peas. I am conscious that I allow myself to be influenced a lot by other painters, to the extent that I sometimes consciously attempt to reproduce their style. My intention is to learn - not to learn how to be them but how to be myself. My logic is that if a particular work or style greatly appeals to me then I must be internally responding to it for deep reasons of affinity.  We have to ask ourselves in painting (as in the telling of tales and stories) is any creative output truly and wholly unique? Hopefully and I would say almost inevitably, the strands of influence of others come together in a new statement, a new voice, in the sense that each child born is a genetic mix not just of its mother and father and of the mothers and fathers that went before it but also a bit of their own deepest self which perhaps grows through our experiences in life.  

Thursday, August 28, 2014

Self-conscious


Oil and acrylic on card 9" x 6"

The previous painting was very "planned". I even did a sketch for it beforehand which is unusual for me.  This one I wanted to just go with the flow and work intuitively.  I used a palette knife as well as brushes and a screwdriver for etching lines into the wet paint.  There is something so satisfying in working like this. Click on it for a bigger image.

Saturday, August 23, 2014

Removing posts

I have removed the last few postings. They are not quite what I want and every time I went to the blog there they were looking at me. I haven't got rid of the paintings yet though. They can live a bit longer but then they had better watch out!
I am painting every day if only for a couple of hours but trying to work something out in my head. Let's see what happens.

Saturday, August 16, 2014

Success, sales, SWA and Stockport Art Guild

I am proud to be a member of Stockport Art Guild. It was founded in 1919 so it has been going a long time. Today was our annual exhibition opening and I was surprised and humbled to find I had won an award for "Best Portrait" in the show for one of the "Legacy" series I worked on last year.  As a bonus, the portrait had sold by the end of the afternoon!  The exhibition is on until 7th September so if you are in the area it's worth taking a look. There's some wonderful work in there.  I also omitted to mention that two more of my "Legacy" paintings were exhibited at the Society of Women Artists Mall Gallery show in London in June. (Both those paintings sold too!) Sorry SWA I forgot to give you a special mention but I would like to say thank you for all the support and kindness you have given me. It's not something you often find in the cut throat art world of the city but it definitely exists in the SWA.

Wednesday, August 13, 2014

Renaissance papa


Oil and acrylic on cotton canvas board 16" x 12"

I was looking at some images of Bellini's Madonna and Child and it struck me that in most of those Renaissance paintings the Madonna does not look at the viewer, only at the child. On the other hand the child often looks at the viewer. It's an interesting psychology.  I thought I would put a little landscape in the background. It's a northern one with valleys and hills, small houses nestling and a viaduct. We have quite a few of those in these parts.
(Since first posting I have done some more work on the guy's shirt so this is a new shot.)

Saturday, August 09, 2014

Girl with house plants


Oil and acrylic on cotton canvas board 16" x 12"

I'm happy that she turned out to be almost sculptural and that the plants echo that. Painting in this way is totally therapeutic for me, knowing almost in advance the direction in which I am going unlike the more gestural work of the figurative abstracts.  It is also a wonderful opportunity to really learn about the seductive qualities of colour. I can make quiet decisions and that is probably more "me" than anything else.

Sunday, August 03, 2014

Woman with a stoat


Oil and acrylic on cotton canvas board 16" x 12"

Inspired by Leonardo's "Lady with an ermine" and Freud's early paintings of his wife Kitty Garman.  I enjoyed painting this so much.

Saturday, August 02, 2014

Burlesque?


Oil and acrylic on cotton canvas board 16" x 12"

It's the oddness of the human condition that strikes me - our awkwardness and desire to create and hide behind different persona.  And it's that I think that lures me away from the much more fluid abstract paintings to something more recognisable, but perhaps something we don't really want to recognise.

Thursday, July 31, 2014

Re-working

The three paintings below are re-works but in one case substantial changes were made and in the other 2 a few fairly big changes were made. Re-works offer the chance to be brave.  The painting did not totally satisfy you or you would not have considered a re-work.  It's often a battle with the surface as the paint builds up and the painting emerges towards you. I think I enjoy re-working more than anything.

Martyr


Oil and acrylic on linen canvas 16" x 16"

Hibernate


Oil and acrylic on linen canvas 16" x 16"