Periods of inactivity.

Its a side-affect of having a ‘proper job’ that occasionally I’ll not have time nor inclination to paint. The inability to spend each day advancing the work can, quite often lead to a lack of focus. Unless a kind dealer with his/her head screwed on, who knows a good thing when it slaps them in the face and offers me a considerable advance on future sales…then this situation isn’t going to change anytime soon. During these bouts of inactivity the mind still develops work – you never stop thinking and reasoning and ‘remembering’ experiences that will influence the work once it restarts.

Here is one such result of these remembrances – I drive along the north sea coast daily and am often excited by the changing colours and textures; a magical and untamed spectacle. A couple of weeks back some extreme winds caused the sea to look…well, a lot less fierce than you might imagine: Deep Viridian green with myriad white ‘flecks’ of spume. The memory of that experience survived relatively intact until I was once again able to get into the studio.

Windswept/forblåste (North Sea)

Give up?

I look at a lot of art. I mean A. LOT! Some of it good but most of the art I see in ‘real life’ or on the internet is so mediocre that I often experience fatigue and dissolusionment. Not for making (thankfully) but for looking. If what I’m looking at doesn’t feed my creative soul then perhaps it’s time to finally give up looking at other people’s art? In fairness, I don’t much like looking at my own art. 😉

Progress: In the studio

“Untitled (Sky)” Oil on Canvas – 8″ x 10″

The first ‘on canvas’ iteration of the monochrome schematic. The pentimenti creating depth and energy. Unlike the en-plein-air sketches, the studio canvases don’t, as yet have the date and time inscribed. This is something I hope to include in future but I don’t want it to look contrived. This painting was already in motion when I realised it was becoming a Monochrome, so the opportunity for any inscription had passed. Inscriptions, I think, should be applied to the virgin canvas and it may or may not remain visible.

 

Inspiration: Otis Jones

I’ve never thought of myself as a minimalist but more of an essentialist

Otis Jones : 3 Circles, One Red (cite: https://www.otisjones.net)

Inspiration: John Zurier

My interest in materials involves looking for the right color and how the surface affects the way light is reflected or absorbed

John Zurier : Icelandic Painting (12 Drops)

North Sea Studies: 01 April 2018

The process of documenting the sea and the sky from life seems so simple and straightforward until I actually try to do it. More often than not, after carting my ‘kit’ to the edge of the cliff before the North Sea, I sit trapped in awe at the majesty of nature and am left impotent by the impossibility of the task. I force myself to work and, astonishingly manage to produce something interesting. Somehow these responses do indeed capture something of the experience of being there.

SK0104/181240
SE0104/181240
SE0104/181259
SE0104/181254
SE0104/181251
SK0104/181245

The limitations of in-situ painting

Continuing the monochrome analysis of the North Sea, here are some acrylic studies made at source, en plein air, in-situ…etc. My preferred format for these studies is 5″ x 7″ – this size allows me to capture fairly quickly the overriding colour of any given moment. You can see rain spots on these paintings – one of the perils of outdoor painting.

As these sketches attest, it’s important to me that I be in nature when I make these chromatic studies. The subtleties of colour variation cannot be experienced through a car windscreen, from beneath an umbrella and certainly not from a photograph. The glaring issue, of course is that the weather can determine which sea and sky effects I’m able to document. The most dramatic colour variations will often be when the weather is at its most hostile, so must be documented from memory alone.

SE3003/181358
SE3003/181353
SE3003/181402
SE3003/181350
SE3003/181344
SE3003/181339

 

 

“What Paints do you use?”

Whenever I meet a fellow painter, particularly a painter whose work I admire, one of the first things on my mind is, “What paints do you use?” Even when faced with an international ‘best seller’ artist, when one is supposed to drag up questions of tremendous insight and gravitas, I really have only one question – what materials does this artist use and why do they find them better than others.

Well, with that in mind… and with the slight whiff of arrogance that someone might actually be interested enough in me and my work to be concerned with such things, here’s a little video depicting the oil paints that I’ve been using recently.