These photos are the best I can offer, sadly as I was admitted to hospital following on from my back injury in July. I missed my arranged slots to steward the exhibition, when I had planned to take some better shots. I felt proud to be part of this exhibition and we had good footfall throughout. Some more sales would have been welcome, but some members certainly did see some work.
Sixteen artists from the Artel Group will be exhibiting their work in the Oxmarket, Chichester from 14 August to 26 August excluding Mondays. The exhibition is promising to be both interesting and intriguing, each artist having a completely different approach to our subject, Elemental. Several disciplines of art will be displayed and I am looking forward to curating the show as part of a small team from Artel.
My own work will take the form of an installation of paintings and (space permitting) some 2 dimensional paintings on the same subject.
Finally, I have a permanent studio space. I have had ‘the spare room’, a shared studio space at Unity Studios in Chichester, a fabulous (but rather expensive) studio in Lavant all to myself and the most grotty space on a smallholding in Almodington. Finally I have a dedicated studio space at home. It is wonderful.
At one end I have my capacious plan chest, which has been with me for nearly thirty years and indeed was my studio for many years. This is the ‘dry studio’, where I do clean work like mount cutting or any of my spinning or textile work.
I’m researching a way of painting using a rule of making just one mark within any painting. This is an extension of the repetition work I did in 2015. For the time being I will work on paper, as I intend to make a large number of paintings and storage issues alone will not allow for me to use canvases. I have used watercolour, heavy cartridge and khadi papers. Most papers have been primed, but not all.
This is Mark 4 on primed watercolour paper
and Mark 5 – on unprimed cartridge paper, and was started as a warm-up exercise
I’ve had an excellent week at West Dean College on Matthew Collings’ course ‘Colour, tone and division: thinking visually about painting’
I felt quite challenged to be working with the figure, which is not my usual territory. Making the exercises 3 minute or 6 minute drawings was helpful because you have to grab the essence of the person visually and find a fast way of expressing it.
Restraint was very much the mood of the week, with only line being allowed for some drawings and then only a rubber on pre-charcoaled paper, for example. When it came to paintings, we were only allowed 3 colours and white. I chose yellow ochre for one of my first colours as I find the colour difficult to work with. It seemed like a good opportunity to try it out again, with the knowledge that help was around.
This was my final painting, expressing how alone the artist actually is in front of their work amidst the mess that surrounds the making process.
I have had two paintings selected for the Sussex Open 2017, which is held at the Towner Gallery in Eastbourne.
The exhibition is at The Towner Gallery from 22 July until the beginning of October.
I have been working on a new body of work during 2017. It is informed by my previous studies of interiors: in particular, Oaklands Park House, Turner’s House and Pallant House.
I have deconstructed drawings of the hallways and reassembled them in abstract paintings. Repetition comes through the work, picking up another theme, which has been evident in my abstract paintings.
So Different was the first in this series.
One of the hazards of modern life is being subject to random attacks of various kinds. My site was hacked this week and some of my recent blogs (2017) have been lost – note to self – back up your own blog material. I consider myself lucky – no-one was hurt – just irritated at the inconvenience.
I shall aim to re-populate some of the material to show up to date work – meanwhile the gallery will give some clues there.
Leaving Crow’s Hall Farm
It’s the end of an era for me having packed up my studio in Lavant, which was very generously proportioned and a luxury I couldn’t perpetuate. Here it is looking very sad with no paintings on the wall and everything packed away.
A new studio!
Fear not! I have a new (smaller/cheaper) studio in Almodington. It is closer to home and I won’t have to cross the dreaded A27 to get to it (phew!). The new studio is still being prepared but the move has physically taken place now. It has been a timely opportunity to review my work (and find some of it!). I have cleared some of the old work, sold one or two pieces and am ready to think about future work.
My painting practice has had several months of interruption now but I have continued with drawing interiors, mainly at Pallant House. Stairs, doorways and now chandeliers are at the heart of my interest. The subject is still centred on transition and Janus – the Roman god who looks both ways. Staircases offer a great opportunity for looking at the space you are leaving and the space you are about to enter.
My teabag project continues (more information on this in earlier posts) and has been another source of practical work whilst the, surprisingly lengthy, packing up of my studio took place.
Having been utterly blown away by William Kentridge’s stunning Thick Time exhibition at Whitechapel Gallery, I am severely prompted to think about how I can make my own teabag project stimulate all the senses.
A return to Painting
I am so looking forward to returning to painting after this enforced ‘paint fast’. I can’t wait to get organised so that I can wallow in some paint again.