sea garden…

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Following on from my earlier posts on Priest Cove at Cape Cornwall and the bathing pool cut into in the rocks, these are a few pieces of mixed media on paper I created recently, but this time thinking about the underwater space of the pool.

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KODAK Digital Still Camera

I’d spent several hours on my arts residency at Brisons Veor back in spring this year, perched on the manmade edge of this semi-natural pool peering into what was really a large rock pool. A beguiling sea garden of seaweeds, anemones, small fish and pebbles, under a calm rippled glinting surface (at least when the tide was out). The variety of life in this underwater landscape was captivating; the colours, shapes and textures so inspiring for an abstract artist!

ink and water…

This week I returned to the inspiration of the bathing pool at Priest Cove, Cape Cornwall (see the post on my Brison Veor residency from earlier this year).

To start with I’ve been working on small mixed-media pieces on paper including the two shown here, but this time with a wet-in-wet acrylic ink base. I wanted to evoke the feeling and sound of the tide approaching over the rocks and of the crashing waves inundating the pool, which is set into the rocks.

Today however, I decided to be braver and go bigger. I thought you might like to see a short video of me starting the first large piece.

insight… in sight…

Thinking more about the subconscious process behind my art lately …

Work emerging from the studio the past two weeks appear again to be channelling my time spent studying and sketching reedbeds and pools/channels on the north Norfolk saltmarsh coast.

Initially these were experimental pieces with mixed-media (inks and acrylics etc) on watercolour board and paper. But having left them alone for a few days, then coming back and working into them with that lovely rust colour for instance, they definitely evoke reedbeds and water to me. The first one below from a close viewpoint, the second from further away.

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Untitled. Mixed media on paper © Mari French 2017

But I’ve also been considering this: they’re not just about distilling what I see or feel, my work seems increasingly to recall my physical experience; the journeying and exploration of my chosen terrain. So some motifs may appear more than once and at different scales, because I see the same place/object or experience the same feeling or sensation several times as I go, turning and watching, stopping and walking back to study some more.

Having been working towards abstraction in my interpretation of the landscape over the past decade, it’s intriguing (and a bit thrilling) to get this insight into the way my own process works.

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Untitled. © Mari French 2017