Playing with subjects in Egg Tempera and then the Frame

Pink Pussy and POTUS, egg tempera on panel, 16 x 23

Back in the studio after almost a six week (forced) hiatus.  It was visitors, visits, housework, laundry, cooking and clean-up and flu that stopped play but as soon as I was able to, I was back: finishing things, and getting to things I'd been thinking about.  I've put them up in the order I completed them, from most recent to oldest.  If you have seen me in the last few years you will know that I have become something of a militant middle-aged sceptic about the state of the Union. Is this an appropriate subject for the media I chose? Should I work bigger, develop the idea to include more plonkers?

Orchid and Bowl, egg tempera on sintopia ground on paper, laid on card, 15x21cm

In this one, I wanted to focus on two of the most beautiful objects (orchid and bowl) that made their way into my studio over Christmas. As presents, I got a silverpoint holder, some pieces of silver in varying sizes and sinopia, cassein gesso, that is meant to work well with silverpoint.

I painted several pieces of paper with a few layers of sinopia and composed what later became this egg tempera.  At the National Portrait I saw that the Pre-Raphaelites painted with egg tempera on paper, so thought, why not? Until I had built up a few layers, even after I'd glued it to a board, I found that it wasn't as nice a surface to work on as my rabbit skin glue/gesso panels, but ultimately, it worked well and I like the outcome. Using a matt and framing an egg tempera drawing under glass will be a different type of experiment.

Christopher Lucas, egg tempera on panel, 16 x 23 cm,

Christopher sat for me months ago and I never could find the time to complete the portrait. I dedicated myself to doing this over the first two days back in the studio.  The real piece is richer than this. I like the way I have made him recogniseable but stayed loose. His hands are key to the painting, I think.

I dropped off for the Pastel Society early in Jan but that drawing was not ultimately successful.  Last week I dropped off for round two selection of the Royal Society of British Painters (RBA). The painting above died in a white frame so, working with Jo Hollis we decided on this ornate frame. As I had a pair, I framed them in the same way.  I hear tomorrow. 

While at the Gaugin, with Gabriella, I noticed the space above subjects.  Gaugin played with this.  I found this painting very difficult to resolve because of the space above, but will try to find the fun in point of view in the coming months and think of Gaugin!