The Continuous attempt to solve problems from every angle.

Swallow Time, oil on prepared book page, (painted area 15 x 10 cm)

After a large pastel, of course it was time to do a small oil. I wanted to make a companion piece to an earlier painting on a book page. I approached the set up and the painting in a similar way to before, although this time I began using only brushes that were too big for what I was doing, (a suggestion from Louise Balaam). I was actually wedged in a small space in my studio and I kept having to shimmy out to find stuff.  In the end I just gave up and decided to do what I imagined with the tools I had …

First I found some book pages, glued then gessoed them and then I rearranged things from the previous pastel.  This is something I do now.  I try to finish what I start, ignoring structural elements if I can make things work and then look at what I've done and do it again differently. Matisse did that. 

So the things in my head today were:
- use more paint
- don't fiddle (use a big brush)
- mix the exact colour to begin with and lay colours right next to each other 
- use lots of variety, pace things
- design the page and use value to effect
- Dorothy Eisner

I am more purposeful. Working across media  and in different ways leads to very different outcomes.  Scale matters.  Composition changes radically depending on the shape of the paper.

Hellebores and China Value and Design

Hellebores and China, pastel on paper, 46 x 42 cm

It was good to spend the better part of two days working on a big pastel drawing. This arrangement was in response to a video I watched about design and value and the paramount importance of getting those two things right. As ever I struggled with how much to define, where to use my artistic license and when to stop. 

I've been wondering about what kinds of objects people want to look at and whether that even matters… in other words is it truly about the colour and shape? And will naming things detract or enhance the viewer's experience? Would it work better if that orb  ( a detail of the kimono) floating over the figurine's head was removed or is that shape interesting? What if the figurine had a differnt recognizeable face?

For me it all comes down to love. Can you feel the love, delight and story that got hold of me while I was working?

You can find the video that I mention above here: 
https://art2life.lpages.co/value-with-motivation-intro/

revisiting St James' Park

Final version St James' Park, egg tempera on panel, 26x16 cm

Having had a few sessions working with egg tempera lately, I decided to revisit the panel I began with Ruth Stage back in June 2017.  Ruth introduced me to working with egg tempera. Anthony Williams who also works in egg tempera held an NEAC workshop at around the same time, but his was a portrait drawing workshop.  The two artists work is very different ways and with any media it's up to the person working with it to find something to say that the media enhances.

The picture above is the new version of what you see below, which was begun in the Mall Galleries learning centre.  I worked from a drawing I made at lunch time and only had about 2 1/2 hrs to begin to find my feet with a new media and to find something to say about St James' Park. Not having the information in front of me (referring to a drawing instead of working from direct observation is always difficult for me but John Dobbs reckons you need to just fight through all those uncomfortable feelings to find something worthwhile and authentic to say. All I know is, I I have been moving the panel around the studio and wincing every time I caught sight of it, so I knew the process was going to be prickly but was absolutely necessary!

Forst version, St James' Park, egg tempera on panel, 26x16 cm

You can see Ruth's work here: https://www.newenglishartclub.co.uk/artists/ruth-stage-neac
and Anthony Williams' work here:https://www.antony-williams.com

Before I began I looked at a few people to find direction, found my original pastel drawing and printed off a black and white version of the photo I took of the scene after I finished my drawing.

What I looked at for inspiration was images by Wolf Kahn and Thomas Lamb:

Wolf Khan, by Justin Spring, p 143

Thomas Lamb, Browse and Darby catalogue, 2017

I also read this article and bought a cheap pack of cosmetic sponges to exxperiment with 'smoother transitions'. http://www.kooschadler.com/techniques/Transitions-Egg-Tempera.pdf

I worked for most of the day, going in many different directions, sanding, scumbling, glazing, cross hatching and eventually found something to say that felt like me and reminds me of my monotypes. Phew.

A day of portraits

1st pull Stacey, akua intaglio on paper 10 x 15 cm

2st pull (with added ink) Stacey, akua intaglio on paper 10 x 15 cm

final print (press and release agent) Stacey, akua intaglio on paper 10 x 15 cm

I was surprised how straight-forward it was to make monotypes and to paint on a couple of prepared panels with egg tempera in a group portrait setting.  Of course, I forgot a few things and had to find solutions…  

I covered a board with cling film (which I had brought) to use as a mixing tray as I had forgotten those..  I didn't have my spoon or barren so used the back of a fingernail brush and then a metal teaspoon to transfer the print. Carol doesn't have water in the studio so I had eggy hands after separating the yolk but it's amazing what you can ignore!

David posed first and I used my traveling egg tempera kit.  He is very still. I used lots of egg yolk, working from blocks of colour to more detail. Because I didn't have a big area to mix colour on and because I had carried the loose pigment and some had intermingled, it was difficult to keep the colour fresh. We all find his beard difficult to deal with.  I thought about Anthony Williams and wondered whether I should find out what other artists do.

When Stacey arrived I needed a new egg yolk and this time I had one of my hen's eggs.  The yolk was much yellower so everything became more brown; this was a surprise.  Stacey moved back from her forward leaning position and I had to stop as everything changed.

The series of monotypes followed.

Stacey, egg tempera on prepared panel 16 x 23 cm

David, egg tempera on prepared panel 16 x 23 cm

Plastic after plogging

I learned a new world on Facebook yesterday and it is going to be my new favourite word.  PLOGGING.

It is: 'a new pastime taking off in Sweden that sees people going for a jog, and at the same time picking up litter. You pick and you jog – hence the term ‘plog.’
Yesterday I was running with Lyra and found two 'hedge balloons' which I stopped to collect and stuff in my poo bag.  I am a plogger.  Who knew? My eyes are always peeled for that perfect piece of plastic…

In general my plastic comes from a few different routes: people bring me plastic; I save obselete plastic that I get in my life and I find plastic when i walk and run.  

This collage began with some red I got from a friend.  It suggested Matisse to me as I moved forward.  It didn't come easily but when I'd finished, I knew it was done.

A week of working across media

Sound of Alcina

I discovered that I sold both of the fused plastic pieces I was showing at the gallery in Bermondsey earlier in the week. It was timely because I was in the process of trying to make something for an open call and working in fused plastic is usually fun but sometimes is confusing in that trying to say something too specific feels forced and at the same time, I can't necessarily believe in something that comes absolutely intuitively. A sale can be a reminder to trust your instincts.

C of plastic

Sorting Plastic

You'd laugh if you walked into my studio… it is about as chaotic as it gets.  I am literally stepping on top of plastic. Things are balanced all over the place and I have many tea cups, some still full, scattered. 

I seem to be moving from one idea to the next without a pause. Yesterday I was in London all day so today, after showing the recent egg tempera to Mick and Louise for feedback, I had some ideas and wanted to work on another panel to test them out. 

Yesterday I drew in Trafalgar Square in my silent traveller in london sketchbook after spending a very enjoyable few hours with Fig's friend Jonny and went to life drawing with Mick. 

Panel 2 (day 1)

I wanted to set up something without strong darks that I could build up with lots of layers to see if I could acheive a sense of luminance that I guess is the real point of egg tempera. Mick told me Ruth uses big brushes so I blocked in very pale colours to begin with. I guess it feels more like a water colour as it is.  I have fewer small marks and more variety, I suppose, but it may be a little saccharin. It got too dark to work anymore on this today, so we will see what happens tomorrow, maybe if I can deepen the colours it will feel stronger.

Matthew, monotype 

Below quick sketches in a small sketchbook to warm me up.  My first print was a bit of a failure, but I may work back into it… I was nearly late to drawing as got so involved trying to see everything in the dark in Trafalgar square (including the colours of the pastel (no head torch) that I was horrified to see it was 5:45 when I looked at my watch.  I was convinced it wasn't even five yet.

5:45 pm Trafalgar Square

Exploring The Surface with Egg Tempera

At the start of the week I finally got around to making some supports for egg tempera.  It required Patrick to cut MDF into even pieces and me to soak and then warm rabbit skin glue and then add whiting to make gesso.  I coated the boards the way Ruth Stage had taught me - about six layers -, sanded them down and planned to take one to my portrait group.  The nine prepared boards were going to be for nine portraits. As it turned out, our portrait group was cancelled so I adjusted  my previous still life to include a few daffodils and began.

I had forgotten that my previous experience of egg tempera was quite frustrating.  It made me even tighter than I can be. That time, I worked from a drawing, which is always hard for me.   I decided to think of this experiment as drawing with a brush rather than painting. I don't have tons of pigment.  Some of it is from limewashing the walls when Earth and Reed were in Needham Market.  Some of it I bought when I was wanting to use lime plaster on wattle and daub as a support, years ago. When I didn't have a colour I needed I took a bit of a broken pastel and crushed it in my mortar and pestle.  I had no cadmium yellow, for example. That seems to work. But I should get a good red and a good yellow for the next panel. I discovered that a Q-tip is good at rubbing back to the support white colour.  I learned that light on top doesn't seem to work, unless it's naples yellow. I used those pieces of glass from the IKEA frames leftover when I changed to UV glass, as palettes.

I worked pretty randomly, not knowing much and wonder if I went from bigger to smaller, which I kind of did, might result in more variety of strokes. That's what Anthony Williams does. Maybe you could focus the eye differently that way.

I began in the morning yesterday and then painted again last night - even though the light was totally different, finishing it off in today's light. Probably because of the colours and the brushstrokes (to me) it evokes Gaugin, or one of the Bloomsbury bunch. It's fascinating the way materials change the way you see, work and express yourself.