Rocks, stones & coves: Cape Cornwall residency 2017

Towards the Brisons, evening. © Mari French 2017.

Towards the Brisons, evening. Mixed-media on canvas. © Mari French 2017.

A few weeks ago I was fortunate to spend two weeks on my own, on my second art residency at Brisons Veor, Cape Cornwall. Some of you may remember my staying here in 2014, but whereas previously I’d produced work inspired by the ruined tin and copper mines and the raging stormy sea, this time the weather was more spring-like and I wanted to concentrate on the energy of the sea filling and emptying, not only Priest Cove, but also the many small coves along the wild Penwith coastline.

My attention was also captured by the semi-natural bathing pool nestling in the rocks below the house in Priest Cove. There was much more sunshine and light this time and the pool was like a mirror reflecting the sky; often its stillness was in sharp contrast to the crashing waves just beyond. The pool was the still point in the moving scene of the cove; reflective in both senses of the word, filled by the sea, controlled by the moon, partially man-made, part bounded by rocks. In my subsequent work the pool has become a calm space, contrasting with the energy of the mark-making around it. The effect sets up a tension which I like.

Bathing pool, Priest Cove. © Mari French 2017.

Bathing pool, Priest Cove. © Mari French 2017.

Experimental ink studies, Priest Cove. © Mari French 2017.

Experimental ink studies, Priest Cove. © Mari French 2017.

I also produced a series of rapid, small experimented ink studies (above) as I sat next to the pool in the sun, using the pool water to give a marbling and granulated effect. I’m hoping to develop these further at some point.

Mirroring the sky © Mari French 2017.

Mirroring the sky, Mixed-media on paper © Mari French 2017.

The geology of this area is so striking, from white egg-like boulders and the twisted striations of minerals threaded through massive jagged black rocks in the sea coves, to the tumbled stone scattered across the moors. I can see it featuring in much of my future work.

Rocks near Boat Cove © Mari French 2017

Rocks near Boat Cove © Mari French 2017

Boat Cove stones © Mari French 2017

Boat Cove stones © Mari French 2017

Over the course of the residency, I became aware of lines, suggested and real, threading a dimensional net around this coastal place: on and below the sea’s surface – the regularity of shipping lanes, the varying routes of small fishing boats, the patterned pulses of light from the lighthouses at Wolf Rock and Long Ships, the movement of wildlife; in the air – the soaring flight of sea birds and regular small passenger planes lifting off from Lands End airport. Lines began to appear in my sketchbook and swirling over the paintings I was working on.

Studio work, Brisons Veor © Mari French 2017

Studio work, Brisons Veor © Mari French 2017

Plein air painting, Brisons Veor © Mari French 2017.

Plein air painting, Brisons Veor © Mari French 2017.

I’ve been trying to loosen up my sketching for some time, which in the past tended towards more figurative renderings of landscape. It was rewarding to be able to spend more time working on abstract ways of sketching for future reference. See my last post for more sketchbook spreads from this residency.

Sketchbook, Priest Cove. © Mari French 2017.

Sketchbook, Priest Cove. © Mari French 2017.

Unlike my first residency, where I was free to paint what I wanted, this time I knew I needed to supplying work for a mixed exhibition at Artichoke Gallery near Tunbridge Wells, when I returned and I wanted to use the residency to produce a few canvases to fit their exhibition theme ‘Across the water’. (The first and last images on this post are two of the canvases to be exhibited.)

Working in the studio, Brisons Veor. © Mari French 2017

Working in the studio, Brisons Veor. © Mari French 2017

Along with wealth of material from Priest Cove, the discovery of exquisite little Boat Cove tucked into the coast near Pendeen Light, with its mass of tumbled rocks and stone and remnants from the fishing industry (still carried out there on a small scale), provided the stimulus I needed. The resulting canvases (see Artichoke Gallery link above for all four works) were painted to the pulse and crunch of waves on the rocks beneath the studio.

Bathing pool, Priest Cove © Mari French 2017.

Bathing pool, Priest Cove. Mixed-media on canvas. © Mari French 2017.

 

 

 

a painter’s progress …

Rosewall Hill (detail). © Mari French

Rosewall Hill (detail). © Mari French

 … every so often I get the urge to paint hills. I live in Norfolk (not flat, beautifully rolling – well it is where I live) and I love its sweeping beaches and huge skies, but I used to live on the Isle of Skye and I visit Cornwall often, so you can imagine I might enjoy a change in level occasionally. It’s also a change from the more abstract work I’ve been producing lately.

This painting in acrylics and watercolour pastel on deep sided canvas (80×60 cm), is inspired by Rosewall Hill on the Penwith peninsula, Cornwall. Not an accurate representation, I’ll admit, but for me it attempts to capture its looming presence over the moor.

It might not be completely finished yet, but I thought I’d share the progress of the work, step-by-step. Hope you find it interesting.

Rosewall Hill (stage 1). © Mari French. Acrylic and watercolour pastel on canvas depicting uphill landscape in Penwith, Cornwall.

Rosewall Hill (stage 1). © Mari French

 

I started with a very loose broad brush under-painting in Paynes grey and a mix of Raw Sienna and Titanium white to establish shape and tone (above). As with many of my canvases I prepped it first with a rough coating of texture paste, which I sometimes prefer to a perfectly flat surface.

I deliberately used an unusual colour palette next, of Wedgwood blue, Permanent Rose and a little white, roughly mixed on canvas, to unite the separate areas of the sky and foreground (below). I avoid greens like the plague in my landscapes, in case you hadn’t noticed! They’re too obvious, I prefer colours that create an atmosphere.

Rosewall Hill (stage 2). © Mari French

Rosewall Hill (stage 2). © Mari French

In the process much of the lovely initial under painting is lost, but I’ve learnt not to be too precious about this otherwise I’d  end up too nervous to create an effective artwork. 

I also had to adjust the shape and position of the hill a couple of times. Before the new purple mix dried I splashed and  dropped water here and there, allowing it to run in places, creating pale lines in the paint.

Rosewall Hill (stage 3). © Mari French

Rosewall Hill (stage 3). © Mari French

Having left the work for a few days I approached it today wanting to lighten it and get some marks and movement in there (below). Much of the violet colour is brushed over with a dryish mix of Yellow oxide and white, quite fast and vigorously, gain mixing on canvas. I then sprayed with water, semi-dried and wiped back in places. 

Finally, watercolour pastel (neocolour) in black, was scribbled on loosely, hinting at the rough land forms and distant skyline. To allow for any further over painting acrylic matt medium was carefully applied over the pastel and dried.

Comparing the last two stages, I feel the third stage might have made a finished painting, but I’m still excited by the way the work has developed. I’ll post any further changes if/when I make them.

Rosewall Hill (stage 4). © Mari French

Rosewall Hill (stage 4). © Mari French

 

rust, rocks and rope …

Gallery

This gallery contains 17 photos.

abstract photography from my recent trip to Cornwall – St Ives, Newlyn, Cape Cornwall. Hope you enjoy browsing the images as much as I enjoyed taking them.