The Painting is Always King

Kingdom of Flora (30 x 20 cm) egg tempera on panel

I set up the still life for this painting on the 13th of July. Between then and now I finished a portrait for an NHS Hero, did plenty of pastel drawings in my sketchbooks, and gessoed 38 panels - this panel was the last of my bigger panels.  The new panels are all bigger and they have a coat of rabbit skin glue, followed by nine coats of gesso and then another coat of rabbit skin glue. There is a lot of waiting for things to dry. It's laborious but also uplifting - so much hope. The panels took two days this time.   I'm not sure when I actually began this painting but I certainly had something down over last weekend. It was stop and go but I also had a few problems from the outset.  The set up was more square than horizontal and the only panel I had was a long panel, . The flowers didn't live very long, at all.  The Gazanias died in about half a day. I couldn't really replace the flowers once they'd died.  It is the start of my dahlia season, there weren't any new ones blooming yet. I wasn't really convinced by the colours in the arrangement at all.  When I put the colours I saw on the panel, there was always something discordant, or simply ugly about it. But I I wasn't going to let that stop me.

Although I have plenty of objects to choose from, I like to vary what I am looking at and imagine people like to see different things. As a compulsive charity shopper, Covid 19 has forced me into a less consumerish way of working.  I have nothing new and exciting to begin the dialogue between the objects.

Still, as I was painting I began adding objects to the the still life to try to 'fix' things. I covered colours and objects  up and to change what I was looking at to make the composition work horizontally and to find a balance.  IT IS MUCH BETTER TO PLAN YOUR STILL LIFE CAREFULLY SO YOU DON'T HAVE TO REARRANGE ON THE PANEL. One day I decided that I needed an orangeish shape on the right hand side.  I trawled through Pinterest until I found what I needed. The plums rotted. The leaves shrivelled up and I had to redraw things as I brought fresh items to the table. On Friday (looking at my third bouquet) I remembered it was OK to paint what I needed, not what I saw. I was suddenly Rousseau looking at my tabletop peaceable kingdom. 

I think I'm convinced by it now, or is too stylised?

what I began with

When real people popped up in my still lifes

Lucy in Lockdown
egg tempera on panel 30 x 20 cm

I'm astounded to see that it has been months since I posted my last blog! I have been putting things up on instagram.  You can look there if you'd like and have time instagram   but although in many ways a precious period, lockdown did change my routine, it feels good to be back. 

Mostly what I've been doing is making Portraits For NHS Heroes while backstopping our children and their friends, looking after Lyra (our dog) and tending to our bounteous garden in capricious weather. I have also been sketching in various sketchbooks not far from the house and returning to my still life arrangements because there is so much to say about objects and colour now. I have a mail chimp newsletter that I send out occasionally. You can see that and subscribe here: Rebeccaguyverart newsletter  and that would take you up to a few months ago when I began exploring the idea of putting real people's likenesses in still lifes. 

This one, Lucy in Lockdown, was a commission.  Lucy had seen my newsletter and was interested in buying one of the pieces she'd seen.  We had a socially distanced studio visit and I talked her into letting me try to make something that would reflect lockdown for her and have some of the elements she liked in some of my other work in it. She sent me some photos and I set up a scenario. 

I looked online for some figurines that might inspire me in making Lucy and used one I had to understand the light. One thing lock down has helped with is being freed to use photos in whatever way helps me, without guilt. 

The Optimism in Lockdown

Spring Forward, 30 x 20 cm, egg tempera on panel, 

Figgy wants to watch optimistic films.  Our box sets tend to be dark. I remember after 9/11 I couldn't watch anything mean or scary. In the face of a pandemic it turns out my first instinct is to paint a harmonious world. 

The Man I Met in the Kerio Valley, egg tempera on panel, 16 x 24 cm.

One good thing about lockdown is people can't get away, so Patrick sat for me.  I had been wanting to paint him in that hat for months.

Odd Sunny Saturday, egg tempera on panel, 30 x 20 cm.

Certainly The Wild Cherry, pastel on book page, Nature Rambles,

And today I began filling a new sketchbook: Nature Rambles. Sketching in lockdown should help me to see the special views around me again.  The cherry tree is in full bloom, so full of hope.

Egg Envy, egg tempera on panel, 30 x 20 cm, 

I set up a still life on Monday morning.  No more frivolous trips to the supermarket to buy  fancy spring flowers. Here we are in 'lockdown and it's ''make do and mend, 'victory garden' and 'pick your own'. Luckily my bulbs are coming up and a new roadside egg seller sells scrumptiously beautiful pastel coloured eggs!

My Monday stilllife was not peaceful and I had a lot of jobs to do (including sewing a cloth mask) so I got through the day without beginning it.  It is difficult to settle down in lockdown. On Tuesday morning I began again.  This set up was easy on my unsettled eyes so I stuck to it all day and thought about it when I woke in the middle of the night and continued today. 

I never thought I would paint a cat figurine, but I hadn't expected my mother would carry a cat figurine from Orlando and give it to me for Christmas. She must have known that on a Tuesday in March we'd all be social distancing and I'd need a little pastel coloured light relief. 

Sadie in under thirty minutes

Sadie, 20 minutes, 17 x 12 cm, pastel on paper 

 Sadie is slight and not tall.  Fitting her on the page when she is stretched out is problematic… she only fills a little of the space. I took the Felicity House approach to masking the background with white and then erased the white to find the body in the drawing at the top.  Sadie grew and shrank into the space until I got her proportions right and her right heel into the frame. I wasn't sure about the bright pink ground but surprise.  It worked.

Sadie, 10 minutes, 12 x 18 cm, pastel on paper

I suspect this drawing was less than ten minutes.  Sue had lost track of time and when she called time I had only just begun. Later we returned to the pose but Sadie's head was entirely different so I began again in a book.

Sadie, 25 minutes, 13 x 20 cm, pastel on book page

Sadie, 20 minutes, 13 x 16 cm, pastel on paper

Sadie, 10 minutes, 10 x 10 cm, pastel on paper

Taking an idea through

Stalking Spring, oil on canvas, 50 x 40 cm

Today I think I finished an oil painting. I haven't been painting in oils for months, maybe even a year or more. I love working in oil but getting started with it just seems to be a big commitment. I hate cleaning my brushes, I get paint all over me in a way no other media does and I have to move furniture to set things up to paint at an easel. I work in so many different media and lately it has felt like I have needed to work in those, for upcoming exhibitions. OIl has taken a back seat.  

I have heard myself telling people that what I like about egg tempera is that it dries so quickly and you can layer in the space of minutes, not days, like with oils. It isn't smelly and the clean up is simple. On Saturday I sat next to an RBA exhibititor at the dinner and she did intricate paintings with 'wet on wet' oils. I had already started this. I think I got out my oils because my last egg tempera felt like it could work better/needed a bigger scale. But after taling to Sue, I has a different attitude to the layers and the oils were different, not more cumbersome.

A5 oil sketch

 Before I began on the first day, I decided to do a small oil sketch on gessoed paper.  I have agreed to donate a few pieces (A5) for a fundraiser, to aid the animals that were affected in the Australian wildfires. I thought perhaps an oil sketch work.

working bigger

 I worked form life.  I realised I needed another motif on the left side, so added a bouquet on the second day to balance out the colour and shapes.

egg tempera Composition and Saint

This was the original idea,  painting.  I used a photo of a bowl/cup to imagine an alternative composition.  In the painting I have done the same.

Some Visual Storytelling in the 303rd RBA Exhibition

It's all so subjective… the way a painting can reach down into you and make you feel something. Yesterday I visited the Royal Society of British Painters for the private view. I have two pieces in the show and it was fun to see my work on the wall and watch people looking at them, reacting to them, but it was also a chance for me to see the work of those I admire and to speak to a few of the artists to say how much I am inspired by their work. I have chosen a few which, for me, are exquisite pieces of visual story-telling to share.  If you can, go to the exhibit which is on from today through the 29th of Feb.  You can see the catalogue here: https://www.mallgalleries.org.uk/whats-on/exhibitions/royal-society-british-artists-303rd-annual-exhibition-2020

Briget Moore

Bridget Moore 

Bridget Moore, above, tells stories about memories from childhood. As I peer into the windows of her past I am the child and feel my arms stretch, the hoop go round and hear the dog barking. Her beautiful sense of colour, texture, form, composition… these very strong, yet small, paintings stir me.

Robert E Wells

Robert Wells made one of my favourite paintings at last years' exhibition and this year his painting of his daughter was one which my family and I returned to often. He uses paint in a way that tells stories we can all remember too. He also evokes an age of painting and a fight with paint that makes his message especially poignant.

Below are two paintings by Alan Lambirth, but they are not the paintings in the exhibition. Alan doesn't have a presence on the internet, his work is not in the catalogue or in the online catalogue, so you will have to go to the exhibition to see his beautiful, beautifully framed vignettes of life. I think his work is all on the small wall, around the corner from my work.  Like everything I am showing you, I would have any of his on my wall! 

Alan Lambirth

Alan Lambirth Winner of the Michael Harding Award II
'Afternoon Tea'

Richard Sorrel

Richard Sorrel captures humanity with all its flaws.  His gestural people are both beautiful and amusing. Richard works on a small scale and on a large scale!

Shanti Panchal

Shanti Panchal evokes a world where the light is brighter and even the more mundane becomes exotic. I love his sense of colour, the way he builds his surface and how he can conjure a place with a face.

Melissa Scott-Miller

Melissa takes apart london life and reflects it back to us so we are part of it. I have watched her work and her process is unique and results in these slices of London life that are instantly recognizeable and tell her story and our story. Up close the detail and the way she dabs paint unlocks a unique vision.

Annie Boisseau

When I think of Annie Boisseau I think of smaller oils painted on board.  They are each little gems. This luminous oil on canvas stopped us all in our tracks, though… It is bigger and what colour! Annie sketches outside and works in her studio to paint. The quality of light, the abstracted nature of the paint blend to create a place that you want to walk into.

John Pryke does something similar with pastel. His sky makes me look up at all skies, to feel I am there during the day and to promise to look harder the next time I am out at night.

John Pryke

The work I had accepted for this show is different to the work I responded viscerally to at the exhibition.  That is curious.  A few years ago I read Art as Therapy, https://www.amazon.co.uk/Art-as-Therapy-Alain-Botton/dp/0714865915/ref=sr_1_1?keywords=art+as+therapy&qid=1582196235&sr=8-1

by Alan De Boton and John Armstrong  which postulates that one thing we find in art is what we don't have, or what we need in order to balance ourselves. 

I work in a few different media to do different things in the work I make. You can see the variety on my website. https://www.rebeccaguyverart.com 

When I talked to Alan and Bridget we all agreed that you do what you do. When I bumped into Mary (in front of Bridget Moore's work) who I met at a course delivered by Daniel Shadbolt, we agreed that there is something special in ambiguity.

Rebecca Moss Guyver - Colour of Dahlias after Frost

Rebecca Moss Guyver - We Three Kings

A crush of visitors at the Mall Galleries

Hope you get a chance to visit this wonderful show! there was much much more that I liked and loved.  I'm sure you will find your own too.