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About Mari French RI

Mari French is emerging as one of East Anglia's most respected abstract painters. She grew up in Manchester close to the Pennine Hills, originally working as a graphic designer. She then lived for several years on the Isle of Skye developing her abstract landscapes. Mari now lives in Norfolk, working as a full-time artist, from her studio on a former 1930s RAF airbase. The roots of her paintings lie in her deep-seated affinity with landscape and weather, capturing the elemental forces of wild and less-visited landscapes. She says about her creative process “I try to evoke the shift of weather and light on a place and this is reflected in the sense of movement and change in the work itself. I sketch on location but in the studio I work instinctively, using a variety of media to evoke my experience of a place rather than a representation”. Mari has exhibited widely; she regularly exhibits with the Royal Institute of Painters in Watercolours (RI) at the Mall Galleries, London; she has also exhibited with The Royal Watercolour Society (RWS) at Bankside Gallery, London; was a finalist in Artist & Illustrator Magazine's 'Artist of the Year' 2016; and a finalist in The Sunday Times Watercolour Competition 2014. In 2022 she was elected a full member of the Royal Institute of Painters in Water Colours (RI). Her work has been featured in both the ‘Artist’ and ‘Artist & Illustrator’ magazines as well as in several art books and is held in private collections around the world.

getting the blues …

not really… I’m on a roll just now; having a slight change of palette has proved an exciting boost to my winter Saltmarsh paintings.

Tried out Sevres blue, which I bought ages ago but haven’t really used so far, with a dash of raw umber and white, (all acrylics) and my favourite inktense sticks over that. I’m excited by the results, it seems to give that amazing fresh clarity of light you often get at the coast.

I’m considering entering these for the Royal Institute of Painters in Watercolour competition

 

Untitled. Mari French 2015

Untitled. Mari French 2015

  
Untitled. Mari French 2015

Untitled. Mari French 2015

 

loosening up…

Broken Boundary, acrylic/ink on canvas board. Mari French. 2015

Broken Boundary, acrylic/ink on canvas board. Mari French. 2015

 

I was recently invited to write a guest piece for Chris Sturm’s engaging blog ‘Planet Chroma’. This was my first time as a guest blogger and I decided to write a piece about techniques I use for loosening up in my painting practice, which I get asked about a lot.

Planet Chroma is a blog for painters, full of interesting and practical information on use of pigments, materials, colour mixing etc. You can read my post on the link below and do check out a few of Chris’s own posts while you’re there.

Planet Chroma blog

seed heads and mussel shells …

Beach at Holme Dunes, November. Mari French 2015

Beach at Holme Dunes, November.

After days of wet, miserable weather, one morning this week was unexpectedly bright and sunny, so shelving my plans for a day in the studio, I threw my sketching bag and warm coat etc in the car and once again drove up to my favourite escape place, to Thornham saltmarshes on the North Norfolk coast, 12 miles from my home.

It was windy and cold, but wrapped up warm I relished the brilliant blue sky and the tobacco and purple colours of the salt marsh. Apart from gathering inspiration I wanted a good walk, so decided I’d follow the sea defences a bit further previously, around Holme Dunes Nature Reserve to the west, through the pinewoods and out onto the beach.

Saltmarsh, Thornham, November. Mari French 2015

Saltmarsh, Thornham, November. Mari French 2015


Thornham creek and marsh, sketchbook. Mari French 2015

Thornham creek and marsh, sketchbook. Mari French 2015

 

Reedbeds, Holme Dunes. Mari French 2015

Reedbeds, Holme Dunes. Mari French 2015

The path along the top of the sea defences is great for walkers and bird watchers, offering a panoramic view of the marshes and creeks with their birdlife, out to the sea beyond. It passes large swathes of reedbeds on the way, which this time of year are silvery and blurred with seedheads catching the sunlight and the wind. The only sounds were of the wind in the reeds, curlews on the marsh and Brent geese with their guttural barking, grazing out on the fields.

Reedbeds, Thornham, November. Mari French 2015

Reedbeds, Thornham, November. Mari French 2015


Reedbeds at Thornham, sketchbook. Mari French 2015

Reedbeds at Thornham, sketchbook. Mari French 2015

 

Boardwalk, Holme Dunes. Mari French 2015

Boardwalk, Holme Dunes. Mari French 2015

The latter part of the walk is on boardwalks looping over the sand dunes and towards the pinewoods around the reserve (these boards sometimes appear as scraps of corrugated card embedded in my mixed-media landscapes). It was mid-afternoon by now and I followed the sandy path through the firs and out onto the vast stretch of beach.

Holme Beach, footprints. Mari French 2015

Holme Beach, footprints. Mari French 2015

 

Holme Beach, groynes.

Holme Beach, groynes. Mari French 2015

The sun was bright but low giving long shadows and the wet strand reflecting the sky with the colours of a mussel shell. Soon dark bruised clouds were piling up on the horizon and it wasn’t long before they began to cover the sun, bringing a sense of dusk early to the day. I walked out onto a sand bank (the tide was still retreating otherwise this would be a seriously stupid thing to do), to get a closer look at the remains of a line of groynes battered by the waves. I’m always attracted to any graphic elements that appear like this in an otherwise low flat landscape, they give many possibilities for mark-making in my abstracts. I grabbed a few shots, then as the sky darkened, headed smartish back across the sand bank and beach towards the woods and the path back to the car.

Near dusk, Holme Dunes, Norfolk. Mari French 2015

Near dusk, Holme Dunes, Norfolk. Mari French 2015