Light behind wedding chest

For every satisfying print there a handful of disappointments. It comes back to the tension between light and colour, for me. I am planning to do a few black and white prints to work in tone to convey light, but the thing is, I LOVE COLOUR, so marrying those two things is the ideal.

Today I consulted Vuillard. Wonderful Vuillard who tells stories with rooms using light and colour. I think he helped.

Light around corners

Light in Hallway: monotype Akua Itntaglio on Rives BFK 6 x 8"

 I'm starting a new series!  And today is the first day I've had in more than a month to work for most of the day. I have been wanting to get back to monotypes, to really explote the water-based inks and to use what I've learned from Diebenkorn, fused plastic and my recent pastels. One day last month it hit me as I was coming around the corner of our living room that light around corners is related but not specific to the work I've been doing and would be an exciting aspect of my world to study.

Today, especially this morning when I got to work, it was dark, even though it should have been light and I seized the opportunity to go around the house looking at the light around the corners.  I took lots of photos.  I decided to flick throuhg my Hiroshige book to look for colour inspiration.  The spread below felt like the day, and I liked the wedge of green, so that's where I began.

I got the room prepared, for the first time since I've had the press!  I cleared off surfaces, made a wetting station, a working station and adjusted the press, even re-filed the edges, changed the paper, etc. If I don't begin at the beginning, I don't take the work seriously, and I rush.  I am delighted with the colour of the print!  The ink has potential, even if it doesn't do quite what oil-based ink does.  I also used plenty of brushes and found cleaning them and using them immediately after cleaning straightforward for the first time. I used hot water with the soap!

I'm excited to see what happens next.

Studying Matisse's colour

There's a part of me that likes to go out and 'find inspiration' and I consider wandering and gathering ideas important, but when I started this blog, a long time ago, I also knew that I have more than enough material to keep me busy FOREVER and it's a just a case of looking at what I have around me, intently, to see what's next. 

What better place to look again than with Matisse.  

Bouquet and Spy Notebook (2 versions)

Oil on canvas 30 x 30 cm

pastel on paper 6 x 6 inches

Using a drawing as a starting place for a painting is fraught with pitfalls.  I've been reading about Degas and there was a comment about how it is commonly agreed that drawings are 'inferior' to paintings. The statement wasn't made as a value judgement, simply as reflection. The book went onto say that Degas, contrary to most artists, managed to make drawings that were accepted and appreciated as much as any painting.   

Although I call myself a painter, I draw more than I paint.  I love paint and to paint, but I find the immediacy of drawing helps me to get down the esssentials and quite often those essentials say it all. For me, with painting, there seem to be more things that need to come together and I can't pull it off as often. 

A painting takes on a life of its own, distinct from the drawing.  I could paint the painting exactly like the drawing, but it doesn't really work, the idea becomes lifeless.  It's like paint by number. Instead, I try to let go but also must admit to making the mistake of hanging onto well painted or exciting passages even when they are no longer relevant.  And then that conflict between making it real and making it correct is always a struggle, too. 

Summer drawings

Towards Gertmanian House

From Apple Tree

Maine was a fruitful time for drawing! I ordered a new plein air easel that is just like the one I have in England and that provedthe perfect tool for daily drawing.  We had few mosquitos this summer in our garden, so many of my drawings were made there.  In the first few drawings I thought about what Simon Carter does and used what was infront of me to create the mood of the place. And then I was liberated, I don't feel that I need to record what I see with accuracy… I am interested in capturing the feeling of a place, so after a few outings I began to move things around on the paper, to edit and to embellish in a what I hoped would make the place more itself.

Now that I am back, I am using some of the drawings as new starting points for paintings, prints and even other drawings but also am continuing to draw in pastel in the same format. Here in Suffolk I don't have a garden on my doorstep that inspires me the way the Maine garden does, but I do find flowers, interiors and stuff gets me excited, so my motifs are different, and of course I am back to experimenting with plastic!

All drawings are soft pastel on paper (6 x 6).  From Apple Tree was sold at the Artists of Cranberry Isles Exhibit.  You can see more of my garden drawings on pinterest.

http://www.pinterest.com/rebeccaguyver/garden-drawings/

Flowers Under Dogwood

Still `life From Clemetis

Election Result Bouquet

Gardens

With sublime weather and a little widow of time, I have been taking my folding easel and a bag of pastels to gardens.  These small drawings have attempted to suggest summer light. It's difficult not to get nostalalgic when looking at the beauty of nature!

Fused plastic portrait 2

I am wondering about creating a Victorian photo album of fused plastic portraits? How would that work? Or are these icons? Should the people be real or imagined - they have been invented so far...   What other materials would I need?  Would it be interesting?

I have a new sewing machine and I'm not sure what I was doing wrong yesterday but the stitches were not right.  Today it worked dreamily. I even used the knee lift! I will have to go back and prick out the other stitches and correct...