York: stone, wood, copper…

Autumn is a perfect season to visit the beautiful ancient city of York. A recent week’s break there had me exploring the medieval streets, riverside, and old hidden churches. I took a small sketchbook and brushpens with me, and of course a camera, not anticipating much sketching, but was compelled by the soft seasonal light on the old stone and statues.

For me one of the challenges of a popular tourist city like York is finding the hidden quieter spots to relax and sketch. So it was a pleasure to discover the (free) beautiful garden of the Treasurer’s House at the back of theMinster, where I spent a relaxed hour sketching the various statues and luminous white swathes of cosmos flowers on a convenient bench (the artist’s friend!).One day we stumbled on the old church of St Martin-cum-Gregory in the Micklegate area, which happened to be showing a completely stunning exhibition of the sculpture of Harold Gosney. Unfamiliar till now with his work, this was a beautifully curated retrospective (by the Stained Glass Centre) in a beautiful space. Gosney has worked in stone, riveted copper and wood for the past 60 years, mainly capturing the essence of horses, birds and the human figure. His work is also on display at Ripon Cathedral. More on Harold Gosney and his work here. Images below are © Harold Gosney and greatnorthartshow.co.uk (copper sculpture).

We also spent a few hours wandering through the peaceful space of York Cemetery just outside the city walls, on the recommendation of an artist friend. The cemetery is run on a nature conservancy principle with paths winding through the flowers and shrubbery and semi-hidden angel sculptures among the treees. I found (another) bench in the sunshine and sketched the light through the autumn foliage, trying to push the limits of effects and colour blending possible with my brushpens.

Another place we passed several times without realising it, was the entrance to Holy Trinity Church, off Goodramgate. This is a real gem of a medieval building, which still has the original box pews. Well worth finding but wrap up warm, it’s freezing even on a sunny day. I loved the fleeting play of sunlight on the pews and the colours of the worn old stone.

And, last but not least: a visit to my friend Lesley Birch, an excellent abstract landscape artist who I’d previously only ‘met’ on social media. Her art studio is in Pica Studios, part of the Quacks printers building on Grape Lane. The studios house several artists/makers and are open by appointment. Contact them on this link. Below you can see myself with Lesley in her busy studio.By the way, if anyone can tell me how on earth to add captions to photos on the recent WordPress versions I’d be very grateful. It used to be straightforward, but they seem to have changed it for some reason (on the app anyway!). Thanks.

Driven to abstraction: Venice (i) 

 

Cannaregio in the heat. Sketchbook spread. © Mari French 2016

Cannaregio in the heat. Sketchbook spread. © Mari French 2016

I recently spent 2 weeks on holiday in Venice. I’d assumed September would be more temperate, but most days were around 35C (in the 90s Fahrenheit, and I’m crap in hot weather). Unbelievably, I also got painful shingles the very first day. So this could have been one long lament of a post. However… I persevered and did lots of sketching in the second week, mainly among the less celebrated narrow streets (calles) and quiet squares (campos) of Cannaregio and Castello, away from the hordes of tourists and trinket shops.

The sketch above (Cannareggio in the heat) is an abstract impression of my first (short) forays into these areas as soon as I felt able. Completed at our apartment dining table in gouache, posca paint pens, oil pastel and inktense block. You can see, by comparing the sketch and the photo below, how I’ve ‘edited’ the image with white gouache etc, leaving parts of the underpainting to show through in places. The thicker gouache paint can then be inscribed into while still wet.

Sketching in the apartment, at rooftop level. © Mari French 2016

Sketching in the apartment, at rooftop level. © Mari French 2016

Grand Canal from Chiesa Santa Lucia. © Mari French 2016

Grand Canal from Chiesa Santa Lucia. © Mari French 2016

Venice from Giudecca. © Mari French 2016

Venice from Giudecca. © Mari French 2016

Above the shops. Sketchbook spread. © Mari French 2016

Above the shops. Sketchbook spread. © Mari French 2016

So, this year I made less use of watercolours in my sketchbook and more of gouache, Posca paint pens, oil pastel and inktense pencil. Some of this on top of collaged Venetian newspaper. These gave me a more robust repertoire for evoking the textures of the ancient buildings and to make more use of my recent experimental mark-making in mixed-media. I used a new concertina Seawhite sketchbook which I’d seen used to great effect on the blog of friends’ who’d shared a residency at Brison’s Veor in Cornwall. I have to admit I struggled with it a bit, although I almost always use Seawhite books, but the concertina is a format probably more effective for landscapes, seascapes etc. Having said that, it’s now really useful to be able to spread it out along a shelf in my studio and be able to view my many Venice sketches at once.

Sketching in the Rialto fish market. © Mari French 2016

Sketching in the Rialto fish market. © Mari French 2016

Rialto fish market, Venice. Sketchbook spread. © Mari French 2016

Rialto fish market, Venice. Sketchbook spread. © Mari French 2016

One of the things I found myself struggling with, was my determination to sketch in an abstract fashion, rather than depicting what was in front of me with too much adherence to detail and representation. This was so hard! I think I managed it in some respects, though. Much easier to achieve when back at the sketching/dining table. Although I think the effort of attempting this actually pushed my on-the-spot sketching further than usual.

Grand Canal, night. © Mari French 2016

Grand Canal, night. © Mari French 2016

Washing, Cannareggio. Sketchbook spread. © Mari French 2016

Washing, Cannareggio. Sketchbook spread. © Mari French 2016

Details, Campo del Mori. Sketchbook spread. © Mari French 2016

Details, Campo del Mori. Sketchbook spread. © Mari French 2016

Weathered door, Cannareggio. © Mari French 2016

Weathered door, Cannareggio. © Mari French 2016

Venetian abstract. Sketchbook spread. © Mari French 2016

Venetian abstract. Sketchbook spread. © Mari French 2016

 

Beautiful canal basin, San Polo. © Mari French 2016

Small canal basin, San Polo. © Mari French 2016

Fish graffitti, Dorsoduro. © Mari French 2016

Graffitti fish, Dorsoduro. © Mari French 2016

Rooftops abstract. Sketchbook spread. © Mari French 2016

Rooftops abstract. Sketchbook spread. © Mari French 2016

Towards the end of my stay I also discovered a fascination with the huge lagoon, in which Venice nestles like a gemstone among many other islands – some inhabited, some abandoned, some cultivated, some nature reserves – and the saltmarshes, reedbeds and sandbanks.

I’d need more time, with a boat, out there, to do it justice (who knows?). As it was I had to make do with staring avidly from the vaporetto motoring out to Burano and Mazzorbo, and greedily watching from the plane banking over the lagoon on takeoff from Marco Polo airport – the channels, fishing nets, ruined campaniles, boat wakes, bricola, all within the glorious mercurial sun reflecting off the water.

Venetian lagoon, taking off from Marco Polo airport. © Mari French 2016

Venetian lagoon, taking off from Marco Polo airport. © Mari French 2016

So here are some of the images and sketches from that two weeks and in the next posts I’ll show you how the experience has evolved so far in my subconscious and emerged in some experimental pieces, abstract photography etc.

chasing the light …

Two new artworks from my current series ‘Towards the Light’…

See previous posts Towards the Light and Shadow & Light which explain the inspiration for these.

I’m still thinking up a title for the first one below, which I only finished today. That glorious plum colour in the shadows is a glaze using an Inktense block I bought a few days ago, the first time I’ve used them (although I do use the Inktense pencils for sketching).

Untitled.JPG

Untitled, Mari French 2013

I’ve entered the first two of this series (Flight, shown below, and Towards the Light, shown on earlier post) into the National Open Art Competition, so fingers crossed! If they don’t get through I’ll be trying them in other open competitions – I think they’re some of my strongest works.

These are a bit of a departure from my usual landscape work, as regular visitors to my blog and followers of my work will realise. I’m enjoying working on them.

All Acrylic/ink/mixed media on watercolour board, approx 20 x 30 inches.

Flight, Mari French 2013