revisiting reed beds …

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Coastal reed beds, sunlight. © Mari French 2019

I need some new inspiration. I’ve loved exploring my impressions of Dungeness (see my last three posts), but in all fairness I probably need more than that one day of exploring and sketching back in October. I’m not abandoning the subject, but I do feel I’m retreading old ground now. I need to go back to visit and sketch, but for various reasons I can’t for a while. Three largish canvases stalled, so time for a change of direction. I believe artists need to be able to study a subject in some depth before creating meaningful expressive abstract interpretations.

In the meantime, I’m continuing to practice markmaking in my studio with acrylics, ink and other mixed media and enjoying messing about in my workbook. I can feel coastal reedbeds and sunlight coming through again and the urge to go walking and sketching in my usual stomping ground on the North Norfolk coast between Thornham and Burnham Overy Staithe.

Experimental painting with ink and acrylics © Mari French 2019
Workbook markmaking practice.

Reed beds, early Spring. © Mari French 2019

Another effective way of moving through a stalled phase for some artists can be to change techniques/medium for a while. So I’ve purchased some sheets of Mylar (as used for stencils) to try out. Obviously I need to play around with them for a while to discover their potential. So far I think oil paints with oil bars/pastels might give the most satisfying results, but oh the drying time! More about this in another post.

Sea lavender & dark skies…

Sea lavender sketch, Thornham saltmarsh

Sea lavender sketch, Thornham saltmarsh. © Mari French 2018

Due to flagging and wilting in the extended heatwave of the past 7 weeks, I’m playing catch up with painting and social media etc. I’m really not good in the temperatures of 34C plus which we’ve had lately.

Anyway, enough grumbling! We had a fantastic lightning storm last night and torrential rain, so I’m feeling a bit more refreshed and don’t need to water the garden for a few days. This post is really to tell you about a sketching trip I had to Thornham salt marsh on the North Norfolk coast a week ago, when it was a bit overcast and threatening rain (though it didnt) and so much more comfortable for walking and sketching. (I did post some of these images on Facebook etc, so they may look a bit familiar to some of you).

Sea lavender and dark skies, Thornham, North Norfolk. © Mari French 2018

Sea lavender and dark skies, Thornham, North Norfolk. © Mari French 2018

I’d driven up to Thornham to catch the swathes of sea lavender that carpet much of the Norfolk marshes this time of year. But I was also astonished by the profusion of wildflowers (despite the drought, or maybe because of it) and butterflies along the paths on top of the sea defences – mallow, wild fennel, corn cockle, wild carrot and something with exquisite clover-like white and blue flowers which I haven’t yet identified (see lower left image). Feel free to enlighten me!

 

I started off with gouache, which I’m enjoying using more frequently recently, combined with other media like pencil and Posca paint pens. But I soon decided to switch to wet-in-wet watercolour as the gouache was drying too fast and causing the brush to drag. I thought wet-in-wet might allow me to evoke the looming skies and shadows on the marsh more effectively. I love the way the creeks reflect the light, especially as the skies darken.

 

Sea lavender, Ragged Marsh.

Sea lavender, Ragged Marsh. © Mari French 2018

I’ve since been getting back into the swing of painting in my studio (only in the mornings for now, too hot after lunch), and I’m having fun putting some of these influences to use on canvas, which I’ll show you in my next post.

 

balancing act …

'Zawn' finished painting. © Mari French 2018.

‘Zawn’ finished painting. © Mari French 2018.

I’ve just sent off three new canvases in my Cornish Coves theme to The Harbour Gallery Portscatho in Cornwall as mentioned in a previous post. The one above is titled ‘Zawn’, which was the name given to deep and narrow sea-inlets in cliffs, often  exploited by tin and copper miners of the past. I thought you might be interested in seeing how the work developed.

The photo below shows the early stages of ‘Zawn’. I had no definite image in my mind at the start of this painting, other than the Cornish coastline theme. However, I think, having painted light and sea into the other canvases, I wanted to do something a little different here, to capture the power and looming presence of the rocks and cliffs of the wild Penwith coast.

'Zawn', 1st stage. 50x60cm, acrylic on canvas. © Mari French © 2018

‘Zawn’, 1st stage. © Mari French © 2018

At the beginning, I gave free rein to my paintstrokes, scumbling and scratching into the paint. I used a dryish brush in places to give the sparkle of light on rock and sand. The resulting image suggested to me a cave in a dark cliff and having come across several of these around Penwith, I decided to develop the work in that direction.

Inevitably some of the luscious marks and gestural passages at the start of a work eventually get painted over, often a hard decision to take; but without the confidence to do this editing, I find a finished artwork will have a static, tentative feel to it. (Of course another tricky, but important part of the process is leaving areas alone!). It’s a question of balance of freedom and control.

Below shows ‘Zawn’ almost finished. I decided I wasn’t happy with the pointy shapes in the background behind the large boulder on the right, so did some further work on them and tied the image together by suggesting a large rock instead, plus some line work (see top photo of this post).

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‘Zawn’ almost finished. © Mari French 2018

Hope you’ve enjoyed this insight into the creation of one of my semi-abstract landscapes. I find photographing some of the stages as I paint an invaluable record and self-teaching aid.