Unknown's avatar

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.

purple obsession…completed!

…as promised here are the final stages of the tulip painting, described in my previous post.

Below you can see how I added purple to the lower foreground to tie it in with the flowers themselves, knowing I would be painting over most of it, but allowing enough to show through to create depth and interest.

© Mari French 2011

© Mari French 2011

I then brightened the foreground up again loosely with pale green (actually lemon yellow and white), wiping it back in places to allow the lower layer colours to show through. I was after an impression of these wonderful tulips bursting through spring foliage in the May garden, in sunshine.

I next added dioxazine purple and quinacrodrine carmine to the flowers to bring out their colours. I’m grateful to Elaine Phipps, a fellow artist and friend, whose recent description of tulip petals as being like ‘plumage’, is such a brilliantly apt description of them.

© Mari French 2011

© Mari French 2011

Once thoroughly dry, I covered each bloom with pieces of easily removable self-adhesive brown tape so I could refresh the upper background with a layer of brighter paint – you can see this in the detail image below.  Tearing the tape into small pieces makes it easier to pull and push them into the natural shape of the flowers.

© Mari French 2011

© Mari French 2011

© Mari French 2011

© Mari French 2011

When I was happy with that area I removed the tape – a moment I love as the colours now sing out against the brighter background.

As you can see in the two lower detail photos (which I really wish were actually large final works- how happy would I then be!), I then worked into each bloom with watercolour pastel in shades of light purple and carmine, to bring a liveliness and light to the flowers, giving them more definition.

You can also see where I earlier splashed fine drops of dilute purple paint to enliven part of the work, and again to tie in the rich purple with the background.

© Mari French 2010

© Mari French 2010

The last two images show the finished piece and the work in position at the Norfolk Open Studios group show at South Acre Church near King’s Lynn, a lively and varied exhibition which I spent all day on friday, along with 11 other artists, hanging (more of which in my next post).

© Mari French 2011

© Mari French 2011

South Acre show, Norfolk Open Studios © Mari French 2011

South Acre show, Norfolk Open Studios © Mari French 2011

purple obsession…

Gallery

This gallery contains 10 photos.

I confess to being more than a little obsessed with dark purple tulips (often called black), especially ‘queen of the night’, at this time of year. The lustrous silk petals of these gorgeous flowers defy comparison and it’s almost impossible … Continue reading

evolution of a painting…

I recently came across these digital photos of the creation of a work I have on display at the Burnham Grapevine Gallery in North Norfolk just now. Titled simply ‘Red landscape’ it is approx 40x40cm, acrylic/mixed media on canvas like a lot of my work. I thought it might be interesting to show how the painting evolved.

step1 © Mari French 2009

step1 © Mari French 2009

Obviously step 1 above sees the work some way on in its progress. I started by covering the box canvas with a smooth texture paste that I use, spread liberally and loosely with a palette knife. Before this dried I embedded various materials into it such as fine muslin and string, also pressing pieces of corrugated cardboard (peeling off the covering layer on one side, revealing the ridges) to create interesting areas of texture. Then, using a large (4 inch) soft brush – I applied a mix of burnt sienna and yellow ochre mixed with matt medium all over. When that was almost dry, I swept paynes grey across parts of the upper middle and lower foreground, resulting in the above image (step 1).

step 2 © Mari French 2009

step 2 © Mari French 2009

In step 2 above, the sky area, horizon and foreground are suggested with parchment (a pale cream colour I find a bit gentler than white) giving some definition to what I could now visualise as a fieldscape, albeit an abstracted one. This was allowed to dry thoroughly.

step 3 © Mari French 2009

step 3 © Mari French 2009

Step 3 demonstrates the rather drastic technique I often use of sweeping darker paint over  the canvas with loose strokes concentrating on getting into all those bumps and ridges of texture. Before it dries I wipe most of it away with damp rags (have to be pretty quick here). Although this may seem a waste of time (and paint!) I find it gives a subtle depth to the final painting. Incidentally I use a hairdryer to speed up drying times for most works.

I then warmed up the painting with more burnt sienna and yellow ochre mix, and yellow ochre on its own, used fairly dry so it retained the brush strokes, to indicate ‘field’ areas. The finished work is shown below and also a close-up detail showing how the paint clings to the texture of the muslin etc.

Red landscape © Mari French 2009

Red landscape © Mari French 2009

'Red landscape' detail © Mari French 2009

'Red landscape' detail © Mari French 2009