Selecting work for national open exhibitions

We Know That Light, pastel on altered book pages, 44 x 35cm (framed)
based on drawing in sketchbook of Preble Beach, Cranberry Isles, Maine.

Bring Back the Golden Days,pastel on altered book pages, 44 x 35cm (framed)
drawn on site outside Ware House, Cranberry Isles, Maine.

I am submitting for the Discerning eye open exhibition again this year.  I have never got my work accepted, I believe I have submitted four times. Above are the two pieces I selected and will carry down to London o Friday.

Here are the rules:

RULES

1. The ING Discerning Eye Exhibition is open to artists born or resident in the UK only.
2. All works must be for sale.
3. All works must be within the maximum size limit of 20 inches (50cm) including frame.
4. All works must be an original creation by the artist; prints (including prints from i-pad drawings), photographs, and sculptures are acceptable.
5. All entries must be accompanied by a fully completed, signed Entry Schedule and a fully completed Discerning Eye Work label.

As you will notice, there are no particular rules about what to submit. the exhibition has a particular way of selecting work and usually I google the selectors and think about them when I choose what to submit.  this year I have only just done that.

SELECTORS

The ING Discerning Eye Exhibition is selected each year by 2 Collectors, 2 Critics and 2 Artists.

Artists

Gill Button – Painter & Illustrator

Charlotte Hodes – Fine Artist

Collectors

Kwame Kwei-Armah – Young Vic Artistic Director

Tim Rice – Author and Lyricist

Critics

John Penrose – Past Chairman Discerning Eye

Louis Wise – Critic & Writer, The Sunday Times

I'm submitting two pieces because I think a pair is stronger than a single and although I agree with 'art tax' and don't object to paying to enter, I think it can be a bit like being a gambler… it's easy to add ad believe you will have a better chance with more. Because I am exploring opened books at the moment, I hoped I would make two of these for the exhibition. I haven't had much time lately but time pressure can be useful.

Having looked at the selectors… I think I might have chosen a different strand of my work… Below are the three opened books that I didn't choose. Wish me luck! I've already booked my train down to collect unaccepted work so don't fret on my behalf, though.

The Gathering Storm, pastel on altered book pages
Based on drawings made in Kenya

Lost in the Woods, pastel on altered book pages
drawings made in the Rockefeller Gardens, Mount Desert Island

Britains Structure and Scenery, pastel on altered book pages
drawings made on IBBAS paintout

A Few Days Drawing in London

The Plinth and the Priest, pastel on book page

Every year the New English Art Club runs a series of classes to coincide with their annual exhibition.  They are run by members and very affordable. I was able to sign up for two this year: one with Daniel Shadbolt http://danielshadbolt.com; the other with Ruth Stage: https://www.newenglishartclub.co.uk/artists/ruth-stage-neac.  

The weather was pretty poor for Daniel's workshop but we were all prepared and I managed to draw in the rain with an umbrella throughout.  True I had to close up my pastels and water pooled on the top of the containers once while I waited for the downpour to subside, but it was fun learning that I can be a guerrilla painter! I had to work with the rain.  My book was damp throughout and the pastels behaved differently. We were in Traflagar Square with Daniel and in St James Park with Ruth.

 For both worksops we brought our own materials and were encouraged to work in our own way. In Traflagar Square the goal was to draw people.  Obviously we would need the surroundings for context but I found it fun to have the figure focus.  Daniel also wanted us to try to create drawings which we would be able to look at and  tell where we had been standing. As I was working small (in my Silent Traveller in London book), I opted to do some cropping to give clues without needing to work in fine detail.

Final drawing St James Park,  pastel on book page

In the park the sun came and went.  Sometimes I wanted to be faithful to the way the 'still life' of plants, sky and architecture were actually arranged (the focus of this workshop was pattern in nature) and in other drawings I moved things around to make the composition and colour work. Some of the drawings took as long as an hour.  A few were completed in under 30 minutes.  Both in the park and in Trafalgar Square I featured in many tourists' photos.  People stopped to ask questions and look carefully at what I was doing and looking at.  

I had some wonderful experiences and Katerina, a young woman from Italy stood for me for a few minutes in front of the lions in Trafalgar Square while Gabrella entertained her parents. Then before and after the rain I met Jonathan, a musician who was next on to busk in front of the National Gallery. He also stood a bit for me.  I loved both workshops and it turns out I like going to the city to draw.

an Old Age,  pastel on book page

Standing by the Canteen, St James park,  pastel on book page

Jonathan on Deck,  pastel on book page

Dinosaur trees about Teatime,  pastel on book page

Katerina and the Lions,  pastel on book page

Green Stripe - No Men,  pastel on book page