‘Janus Light’ at the Stride Open Competition 2016

This is the Private View for the Stride Open Competition 2016. the bottom painting is my oil painting ‘Janus Light’.

Janus Light at the Stride Open exhibition 2016

Janus Light at the Stride Open exhibition 2016


Janus Light at the Private View of Stride Open Exhibition at the Oxmarket, Chichester

Janus Light at the Private View of Stride Open Exhibition at the Oxmarket, Chichester

. This is the second time that I have been shortlisted for this competition.
Congratulations to friends Gemma Green, who had a drawing on display and Krysia Drury, who won second prize for painting.
Gemma Green's drawing of teasels

Gemma Green’s drawing of teasels

June 2015 Interim Crit

My time as Emerging Artist in Residence at CFT is part of a collaboration between the theatre and the University of Chichester’s Art Department. As an MA student approaching the last leg of her studies, I had to show my work to date for the final module in an Interim Crit with University Tutors and fellow MA students. Much of this work has been created in CFT and consists of drawings, some of which are exploratory and are perhaps preparation for paintings. Part of Interim Crit is to show the pieces of work that are significant to the development of my art practice within the MA programme. This has been a useful exercise for me, during this time of reflection on the material gathered so far at the theatre.

Interim Crit: lessons from the theatre

Interim Crit: lessons from the theatre


I made some notes on painted paper, about the issues that my time so far with the theatre have made me consider, both in relation to my practice as an artist in general and as a painter in particular. I shall put this ‘reminder’ list on the wall of my studio so that I can interrogate new work in relation to them. They do not represent rules as such, but I do want these elements to be evident in my current body of work.

Bringing light to a dark place is fundamental to the theatre and very much part of the magic of live performance, and so I have made studies where I start with a dark background and impose light areas or remove the darkness:

Set for The Rehearsal

Set for The Rehearsal


My palette has historically been light, colourful and even pastel. Bringing darker tones to my paintings has been a challenge for me.
Auditorium

Auditorium

Symmetry is very evident in the refurbished building of the main theatre, including in the Foyer area. Through collage and editing, I have taken two very similar drawings based on the stairs up to the auditorium, and played with the symmetry and mirroring which existed within them.

Interim Crit June 2015

Interim Crit June 2015

Repetition is an inevitable feature of the rehearsal process and eventually, the run of any show. I found the repetition of shapes within the set of The Rehearsal became magnified against the back wall of the stage,when the direction of the light source was changed. This was quite compelling. I am considering how repetition might be incorporated into my paintings.

I wanted to show Katherine Kingsley and Niamh Cusack very simply in my observational drawings of their rehearsals, whilst locating them within the intimate space of the Minerva.

Katherine Kingsley

Katherine Kingsley


Niamh Cusack

Niamh Cusack


By contrast I enjoyed the space surrounding Edward Bennett and Jamie Glover in this drawing, whereas there is a closeness and tension between them, in quiet conversation together.
Edward Bennett and Jamie Glover

Edward Bennett and Jamie Glover

On entering the theatre, any painter can find a multitude of subjects to work with. I have found the discipline of being forced to be selective in my gathering of material very helpful. The auditorium in particular presents so many areas of interest, even before the ‘set’ for the production is considered. The need for selectivity aligns with an approach that I have already introduced into some of my compositions, as in this painting from the Oaklands series.

Basement 4 Oaklands Park House

Basement 4 Oaklands Park House

Residency

I’m very excited to have been selected to be the artist in residence at Chichester Festival Theatre during the 2015 season. This will bring to a close my work in Oaklands Park House, which has been a significant step in my journey. I have had the opportunity to work in and respond to a specific environment and continue my exploration of stairs and doorways. The basement area has proved to be the most interesting (and worrying) place to be working. I started with drawings and then spent a day in the basement painting. The painting developed further, back in the studio. As is often the case with my paintings, it was turned through 90 degrees part way through. I also painted out a chunk of the painting, prior to this turn.

Basement Pipes Charcoal on paper

Basement Pipes
Charcoal on paper


Oaklands Basement 1

Oaklands Basement 1


Oaklands Basement 3  Acrylic on canvas 1200x1000mm

Oaklands Basement 3
Acrylic on canvas 1200x1000mm


This is the painting which was done in situ.
The theatre residency begins in mid March.

Oaklands Park House Basement

This was my painting after a couple of hours down in the basement – partly spent setting up the workspace and also the video recording, which I hope to upload to Vimeo when the editing is complete.

Oaklands Basement Painting Day

Oaklands Basement Painting Day


Shortly after this photo was taken I turned the painting through 90 degrees and painted out about 25% of the area with white paint in order to give myself something to resolve after a short break. The painting has remained (so far) as a landscape image.
This is a time-lapse video of some of the time that I was painting: You will need the password FAM6 to watch the clip.

Heather Duncan – Morcambelake Art Wave West

Heather Duncan’s paintings are joyful representations of the landscape. I liked her compositions, especial one painting with a dark sky and light ground, called At the top of my World.

Heather Duncan

Heather Duncan


She created a clever cruciform with a wide light area going up to the top of the painting and then a narrower dark area going down to meet the bottom edge – very effective.

Her painting called Tamar was the best interpretation of the viaduct that I have seen – so often it is quaint and twee. It is an exciting painting and I like the use of colour – I found there was too much in the painting for my taste, but again I liked the way she had created a kind of a grid – a pattern emerging here.

Heather Duncan

Heather Duncan

The promotional material for the exhibition showed another grid based painting: allotment

Heather Duncan

Heather Duncan