ending the year on a high …

I’ve had a couple of lovely surprises, regarding my art, this last few weeks and it’s been great to finish the year on such a positive note.

First of all I was selected as ‘one of 50 finalists out of thousands’ by Artists & Illustrators magazine Artist of the Year 2016 competition, for my painting ‘Flight’ (below). 

  

As one of the finalists ‘Flight’ will be exhibited in the Mall Galleries, London, in February. There will be several prizes awarded, including the Readers’ Award, which is still open for voting, which I’d very much appreciate.

I also found out this week, that I’ve been accepted for Cley Contemporary 2016, which is part of the North Norfolk Exhibition Project (NNEP). This highly-regarded contemporary annual art festival is held in the beautiful St Margaret’s Church in Cley-next-the Sea, showing artwork by a selection of national and regional artists. I’ve tried unsuccessfully in the past to get in, so I’m delighted to be accepted this time. Especially as the guest curator for 2016, Hugh Pilkington, has said:

… I thought it would be interesting to identify what is the contemporary art being made in Norfolk today, how large is the audience and who are the patrons that might support that work. 

​Who are the artists who could make up a new Norfolk or Norwich School? Who are the successors of Cotman and Crome; of Self and Ackling; of Emerson and Payne Jennings? Who are the landscape painters? Who are the abstract painters? Who are the sculptors? Who works in other interesting and challenging formats? …

We will be given the brief for the work for Cley Contemporary in February. The work will be site-specific which will be an interesting challenge as Cley has a beautiful stretch of Saltmarsh coastline – one of my favourite subjects, as you may have noticed on this blog!

 

Areas of Light. One of the images in my submission for Cley Contemporary 2016. Mari French 2015

Areas of Light. One of the images in my submission for Cley Contemporary 2016. Mari French 2015

  
Cley Marshes. © Google Maps.

Cley Marshes. © Google Maps.

 

Lastly, I’d like to wish all my readers a wonderful Christmas and a happy and peaceful New Year! See you in 2016.

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

 

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