On the surface …


Reed beds abstract. Mixed media on DuraLar © Mari French 2019

Reed beds abstract 1. © Mari French 2019

I’ve begun experimenting with Mylar sheets (a kind of acetate film) to further explore my impressions of reedbeds on the North Norfolk coast. Spring is a lovely time for this subject, although I love them year round, and the recent sunny weather has had me reaching for my sketchbook and heading to Burnham Overy Staithe and Thornham once again.

Reacting to these location impressions back in the studio, I’ve found I prefer DuraLar sheets to Mylar, being specifically aimed at artists, and suitable for a wider range of media including acrylics. I’ve actually been using oils on them, unusual for me as I normally paint in acrylics/mixed media. But, though it takes longer to dry, oil paint glides onto the surface beautifully and editing out and inscribing marks into it is a joy. The sheets can also be overlaid on each other, creating veils of imagery, and other material can be sandwiched between.

The images in this post are a few early examples of my DuraLar experiments and are all approx A4 in size.

Reed beds abstract 2. Mixed media on DuraLar © Mari French 2019

Reed beds abstract 2. © Mari French 2019

Reed beds abstract 2. Mixed media on DuraLar © Mari French 2019Reed beds abstract 3. Mixed media on DuraLar © Mari French 2019

Reed beds abstract 3. © Mari French 2019

excitement, frustration, markmaking…

 

Work from final day of Emily Ball workshop © Mari French 2019Work from final day of Emily Ball workshop © Mari French 2019

My work from final day of Emily Ball workshop © Mari French 2019

I’ve been sadly neglecting my blog posts since December. In my defence I was suffering quite badly from the good old S.A.D. (Seasonal Affective Disorder) symptoms along with a bout of creative block, that can plague me (and many people) during the winter months until thankfully, spring seemed to arrive with a flourish in February.

So, now I’m playing at catch up as a lot has happened in the past two months. Because it relates to the previous two posts I’ll tell you first about the Emily Ball markmaking workshop near Cambridge that I attended a couple of weeks ago.

After the boost the previous EB workshop I’d attended in 2017 gave me, I was keen to freshen my markmaking and visual language again. For me art making is a continual learning process and I recognise the need in my own practice for fresh creative input from outside sources occasionally. Emily always gives an intensive, exhausting but very rewarding workshop and this was no exception. We’d had ‘homework’ to do to prepare us and I’d decided to concentrate on Dungeness (see previous two posts) as my subject. So I spent a few weeks producing a series of small experimental studies based on my memories of Dungeness before attending (see image above).

It was great to meet old artist friends and make new ones, and the 12 of us soon filled the art room walls at Linton College, near Cambridge, with a startling variety of large mark-filled sheets of paper. From creating a markmaking ‘alphabet’ of our own marks from our homework studies and exaggerating them in different ways, to ‘blind drawing’ with black and white oil bars, then working on editing complete paintings to ‘get more space in!’, it was full-on, fun and exhilarating. 

By the final day, we’d all experienced highs and lows, whoops of delight and wails of frustration, but all of us had moved on significantly in the development of our own visual language. The image at the start of this post, the last I produced on the workshop (stormy abstract landscape on my easel) thwarted me so much in its development that I hated it for several days. Now, however, I can appreciate the energy, mood and space in it and now I quite like it! Emily must have the patience of a saint, she’s a great tutor and I can highly recommend her workshops.

Selection of the fabulous variety of fresh work made on the workshop. © Karen Stamper 2019.

Selection of the fabulous variety of fresh work. © Karen Stamper 2019.

Special mention to a small selection of the artists from the workshop whose work I admire and you might like to check out (links to the artists’ websites):
Leslie Birch
Sarah Russell
Karen Stamper

 

 

Art at the edge: developments

Dungeness workbook page © Mari French 2018
Dungeness workbook page © Mari French 2018

At last! Having had an enforced break from painting for a few weeks since before Christmas (hope you all had a good one!), my thoughts are turning once again to my most recent source of inspiration – Dungeness. Read my previous post ‘Art at the edge: Dungeness’ for more on how a recent holiday led to my fascination with this unique and strange place.

Dungeness workbook page © Mari French 2018
Dungeness workbook page © Mari French 2018

In this post I’m sharing a few recent pages from my current workbook, which I’ve produced since the small paintings in the last post, and I’m working through ideas for a series of mixed media pieces, inspired by my experience of Dungeness, hopefully eventually leading to large canvases. I’m hoping to get back in my studio soon to carry on developing these.

Dungeness workbook page © Mari French 2018Dungeness workbook page © Mari French 2018.
Dungeness workbook page © Mari French 2018

You can perhaps see from these experimental pieces that, as with my other work series, I’m exploring the shapes, linear motifs and colours that the place suggests to me, rather than trying to achieve anything recognisable, so I’m using a lime green for instance, to evoke the weird evening light (not grass!) and to suggest the latent power of the nuclear power station squatting on the edge of the area. I’ve previously used very little green in my artwork, but it feels right here somehow. Linear marks recall power lines, pylons, remains of tracks in the shingle, fences, telegraph poles etc.

Dungeness workbook page © Mari French 2018
Dungeness workbook page © Mari French 2018

In building up the workbook pages shown here, I used torn up pieces of scrap monoprints I’d produced with a gelli plate, while loosening up and playing with colours, textures and ideas. Then layered over with gouache, acrylic, homemade stencils and collage elements till I got the effect I wanted. I keep a box of scrap prints, textured card and assorted materials close to hand for when I’m messing about in the workbook, either incorporating them or using them for impressing or printing shapes. Sometimes it pays to be a hoarder!