Fragments and reflections…

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Struggling to put thoughts into words over the past few months… fortunately not struggling quite as much to put brush to paper (or canvas) though. It’s been too long (again) since my last post so I’m going to give you a quick recap on what I’ve been up to, just to get myself started writing posts again.

After the tulips artworks I created back in May (here) I went on to develop a very satisfying small series of garden abstracts which proved very popular. One featured in Artists & Illustrators Magazine (October 2020), others were snapped up by galleries. All my love and appreciation of the sanctuary of my garden is embedded in these works. I relished this luscious limited palette; note that green! I rarely used green much before in my paintings, but this series just called out for it’s freshness.

‘Abundance’, mixed media abstract painting on paper. © Mari French 2020.

’Abundance’ (above), acrylic/ink/gouache on paper.

When I was eventually able to get back to the North Norfolk coast my love of the salt marsh and reed beds emerged again. I was back in my element and the lush berry colours of the abstract garden series developed into a more subdued bruised version, influenced by the turning colours of the Autumn – all green-greys, grey-purples and bronze.

Earlier in the year, feeling unable to paint, I’d spent time creating calligraphic papers for collages,with roughly written words relating to bird flight, reed beds, reflections, light etc in inks on tissue. Some of these were perfect for adding to these mixed media abstracts, adding a kind of fragment of message to the image.

‘Equivocal’, mixed media abstract painting on paper. © Mari French 2020.

And below are a few of the on-the-spot sketches at Thornham, Brancaster Staithe and Burnham Overy Staithe, that inspired the above…

“The early stages of a painting are not the time to engage your critical thinking. Let the work show itself”

and finally, I can’t remember where I read the above quote, or who wrote it (sorry), but it has been invaluable to me lately in allowing myself to rely on my intuition when starting a painting (although I sometimes forget!). It’s now stuck to my easel as a reminder. I ignore it at my peril, the painting never works when I try too hard.

Early autumn sketching at Thornham reedbeds…

Another recent walking and sketching day at Thornham on the Norfolk coast. This time I concentrated on the entrancing light, colour and movement in the reedbeds as they subtly change with the approaching autumn.

Looking over the reedbeds towards Holme church from the raised banks around Ragged Marsh is one of my favourite views. The wind rustling through the silvered stems and purple-grey feathery heads is very calming. I used mainly watercolours with just one abstract using the brush pens that I mentioned in the last post.

I also did a watercolour sketch of the otherworldly ‘stumps’ looking out over the creek and marsh.

I remembered my camera this time and even caught a starling murmuration as well as the odd rusted artefact!

shades of gold …

Recent Plein air watercolour sketches of …

the reedbeds and whelk sheds at Brancaster Staithe

autumn field further inland

and the glorious beech woods near Massingham and West Acre

… all around North west Norfolk

Whelk sheds, Brancaster Staithe. Mari French

Whelk sheds, Brancaster Staithe. Mari French

Reed beds. Mari French

Reed beds and tidal mud. Mari French

Autumn field. Mari French.

Autumn field. Mari French.

Beech woods near West Acre. Mari French

Beech woods near West Acre. Mari French

Beech woods and stubble, Massingham Heath. Mari French

Beech woods and stubble, Massingham Heath. Mari French