Getting Ready

When a friend gets in touch to say that they'd love to put an exhibition on for you and another artist, it would be foolish to knock them back. And so, here I go again - although this time I have the luxury of exhibiting under cover, so no need to try and work out how to keep work protected from the elements.

There's always so much to do for an exhibition. New work is a good start. This can be satisfying if you can actually do this - and terribly upsetting if you've hit a wall, not literally obviously - although this may be easier to deal with. 

Funnily enough, I am now insured, so if anyone has a painting fall on their toes I should be able to afford a plaster or two, but insuring against damage to my work - I just couldn't afford it - so here's hoping that careful planning and adequate installing will surfice. 

Obviously *that* controversial piece will probably have to stay at home, unless they have a private back room , where people could gather around smoking cigars and drinking whisky whilst discussing its merits. Shame really. Its proving really popular - but not exactly ideal to put up in front of kids. 

So, new work almost done, I actually quite like some of the elements. A lot. Everyone will have a different take on whats good and what isn't, and it will be interesting to see peoples reaction to a higher price tag. That's what happens when you exhibit in an actual place. Rightly so, they like to take a commission. All still affordable anyway, and I am not too worried.

Next up business cards, just incase your friends cant quite remember what you do (ho ho), printing inks, card, getting your upsides downs the right way around etc etc. then cutting the buggers up. 

Transport. Getting the work there. The last couple of canvasses are a bit big for the car, and people still need to go to work. 

Installation. I'am not even thinking about this yet, it should be ok - although I am thinking forget the spirit level, which may not be good news.

Breathe. Mince pies, Susie's Cider, a special bottle or two for closer friends, or anyone that comes along. 

Secretly, I can't wait, but I am nervous. Wish me luck!

Plein Air Painting

Most of my artwork is produced within the safety of four walls, although that also adds complications in itself. Light is the main problem. Then space. Details can be lost in dim light, and furniture ends up in splattered paint, but I don't let it put me off.

Undoubtedly its easier to work inside, you can quickly reach for a tap for fresh water, or have to hand any tool that is required there and then. But are the results the same?

Working outdoors is certainly refreshing. My biggest fear of having interruptions whilst working didn't cause much issue in the end. I quite like a chat here and there. When you turn around and find yourself as one artist puts it a "tourist attraction" it can be a little unexpected.

Comfort is important. I decided at first to not bother with an easel. That was my first trip back to the car. I managed without a seat, but if I had a long time to paint, I would maybe consider taking one.

Composition. I had no real plan, and just wanted a scene to grab me. I had limited time, so I needed to decide quick.

Materials. I was so excited to use all my birthday acrylics, and instantly horrified how quick they were drying.

Clean up. Oh why hadn't I taken a roll of kitchen roll? What would people say if I cleaned my brushes in the sea? Why didn't I bring a bin bag? Doh.

In hindsight, experience offers most answers on how to work outdoors. I am fairly apt at taking a small sketch book, pencil, rubber and sharpener, but when it comes to big paintings, preparation is key. Limiting materials is handy too, as you can soon become overloaded.

Weather. I wasn't expecting thick fog for six out of seven days holiday. I was very lucky to have brilliant sunshine on my birthday.  You have to take the rough with the smooth. Large umbrellas are okay if its not windy. I had to accept my watercolours getting splashed with big droplets of rain as natures addition.

Children. If you're lucky enough to have a team out painting, then I wouldn't expect to have ownership over any materials. What you have is exactly what they want, so either take double or just enjoy the moment. 

Inside versus outside?. Painting outside has the obvious benefit of you actually painting what you see, rather that what you remember seeing. You can really feel the atmosphere and it shows. You have to be prepared, and that takes time and can only get better with experience. You can choose a secluded spot. Standing next to an open cafe is asking for interruption. Any painting is good, whether you have time to do it inside or out. Its all personal, and its all good.

Benjamin Pickle

I was delighted to bring to life in picture form a mouse character called Benjamin Pickle, created by a very talented Claire McMahon. 

Using my graphics skills I put together a potential cover for her too. Id love to see her story in print! She may or may not use this image, but who knows? I loved doing this anyway. Right up my alley. A lovely distraction from seascapes.

I was very sad to see him go, I really felt I had gotten into this little mouses mind. 

York River Art Market

Wow! The York River Art Market was awesome.

For the past three Sundays, a new event organised by York's very own Charlotte Dawson enabled a wide range of artists including myself to put our work on show, helping showcase various talents to a wide visitor range - locals, tourists, children.

It wasn't a surprise to hear people thoroughly enjoying the experience, with many saying how wonderful it was to create such a vibrant and continental atmosphere. Even the rainy weather didn't deter visitors, so glad too.

Thanks Charlotte! And thanks to any visitor who took the time to comment about my paintings, or even buy them. I said goodbye to several original pieces, and framed prints too. I managed to distribute many of my cards, and am happy to have work now heading for America. Amazing or what?

On a personal note, I have to apologise to the lovely family who bought the huge lake painting. I don't think it was signed. I could pop over with a brush if you like.

Thanks again everyone. If you need any further info, please do get in touch.

Here I am next to one of my pictures. The first of the three days by the River Ouse. 

SOLD

SOLD

SOLD

SOLD

SOLD

SOLD

Art gets the chop!

Well I am very excited now. In just three days time, my artwork will be on exhibition at The Blossom Street Gallery,York. Not as one piece, but four pieces.

My original Horizons painting has been segmented into five pieces, and four have been wonderfully framed. 

Horizons 2

Horizons 3

Horizons 4

Horizons 5

These are the pictures, in their wooden frames, but no glass. The frames are a deep green, and have a wax finish. As a bonus, the framer has also said he will frame two other small paintings to show me other techniques they can produce. I gave him a handful of pictures yesterday, and I will get to see them tomorrow!

I've been in a watercolour frenzy most the week. This does come at a cost, as I have been seeing everything in brush strokes. I remember this feeling when I worked as a graphic designer, seeing fonts, wondering their type, size, kerning etc. It was quite intense.

Three days to go!

New Horizons - the story

For several years, I had been waiting for an opportunity to use a very big piece of high quality watercolour paper, one of two pieces salvaged with a friend out of a skip. We couldn't believe our luck.

The paper, so large, was in need of a big space, and when I took on a studio at the Stonebow House, it was the first thing I wanted to tackle. To say I was excited was a bit of an understatement. Don't worry about mess, I was told, It won't matter about drips on the floor, or paint on the walls. It was like a breath of fresh air. So I got started.

I ummed and ahed for quite some time. Usually, I just throw myself into a painting, and let my brush take me away. I felt nervous now though, I've been saving this paper for ages, and it must of cost a fortune.

The first mark can sometimes be the hardest, and when a huge sheet of white paper is staring at you, its not easy to know where to start.

One drip, two drips more and now I am committed. A sense of a new world being created. My space. It was so pleasing to allow paint fall under its own guidance, and land on the floor in pools of green. The paper so thick, was taking all the water I could throw at it.

Wanting to create distance, I started to form hills, mountains, space. Strangely the linear paths of trees were starting to become claustrophobic. 

This was my first day of painting in my new studio. I was toying with the idea of going to the pub to celebrate, too much of a guilty pleasure though, especially with a small child to pick up in a few hours. After years of childcare, working in a new environment was tremendously uplifting.

More paint, more drips, the process so enjoyable. With green dominating I had to add another element. Blue. Brown. More drips. Whoops, oh well, sometimes mistakes have a habit of working out eventually.

Casual conversations with other studio artists, loud music, classical mainly. My environment directly affecting every move. Thick brushes, more water. Coffee. Rest.

Something just didn't seem to fall right though. I loved the effects I'd created, but my space had become lost, and there was no distance in sight. I left the studio challenged.

Day Two

The air was warm. The skies were clear. The feeling of walking to the studio was exhilarating. I felt nervous, yet important. I had new purpose. My paint box, so overloaded, felt cumbersome. Remembering my student days, feeling the absolute pleasure of a day ahead devoted entirely to creation, I looked out for the usual gaze of passer-by's who wondered what I had in my tool box.

I knew what I had to do today. I'd worked out what needed to be done whilst lying in bed the previous night.

Turn the painting around. On its head. Oh my goodness, it was like a door opening. 

From being strangled in a forest of trees, I was now transported. And so Horizons, was born. Several horizons in one. Where sky starts and ground ended could be defined in so many different ways. Such a metaphor to my new life. And so I worked on.

The odd splash of pastel here and there, new lakes, a moon, and hey presto. I put my brush down and left it. No more additions to make, just time to reflect.

We were all very excited at the studios. Get if framed of course! said one. And then what? Sell it! 

It hadn't occurred to me that anyone would be able to house this, as it was so big. It was probably too much to take on.

Certain areas really excited me. Especially where the paper had made its own marks, steam trails, water, clouds, trees. The light greens creating the special feeling of seeing light bounce of  hills in the distance. I was up in the North York Moors, or was it Somerset, Northumbria, Ilkley?. It reminded me of so many places I have travelled.

What a great start to my new adventure with Stonebow Studios. It sure helped having space and vistas to match. New horizons. A new start.

YES!