revisiting reed beds …

Video

Coastal reed beds, sunlight. © Mari French 2019

I need some new inspiration. I’ve loved exploring my impressions of Dungeness (see my last three posts), but in all fairness I probably need more than that one day of exploring and sketching back in October. I’m not abandoning the subject, but I do feel I’m retreading old ground now. I need to go back to visit and sketch, but for various reasons I can’t for a while. Three largish canvases stalled, so time for a change of direction. I believe artists need to be able to study a subject in some depth before creating meaningful expressive abstract interpretations.

In the meantime, I’m continuing to practice markmaking in my studio with acrylics, ink and other mixed media and enjoying messing about in my workbook. I can feel coastal reedbeds and sunlight coming through again and the urge to go walking and sketching in my usual stomping ground on the North Norfolk coast between Thornham and Burnham Overy Staithe.

Experimental painting with ink and acrylics © Mari French 2019
Workbook markmaking practice.

Reed beds, early Spring. © Mari French 2019

Another effective way of moving through a stalled phase for some artists can be to change techniques/medium for a while. So I’ve purchased some sheets of Mylar (as used for stencils) to try out. Obviously I need to play around with them for a while to discover their potential. So far I think oil paints with oil bars/pastels might give the most satisfying results, but oh the drying time! More about this in another post.

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

 

 

on the high moors 2: emerging images…

White Cross (mixed media on board) © Mari French 2018White Cross (mixed media on board) © Mari French 2018

White Cross (mixed media on board) © Mari French 2018

Well, the recent trip to the high moors above Rosedale in the North York Moors I wrote about in my last post paid off inspiration-wise I’m pleased to report. If you haven’t seen that post you can read it here.

I’ve been on a bit of a roll since getting back in the studio – a new palette reflecting the stone, iron ore, soft purples and ochres of the late summer/early autumn moorland landscape of North Yorkshire. First came these small studies on paper, after checking through my photos and sketches:

Moors above Rosedale, North York Moors. (study) © Mari French 2018

Moors above Rosedale (study) © Mari French 2018

 

Then a few explorations in a more abstract graphic style of the distinctive medieval ‘wheelhead’ White Cross or ‘Fat Betty’ that sits up on the moorland at the crossroads of 3 parishes:

 

Eventually I allowed my subconscious to take over and without referring to any of these resources trusted to memory and instinct (the way I love to work!). I wanted a soft palette of green-greys, bruise-greys, and blue-greys with also a soft brick tone to reflect the outcrops of iron ore in the area. I often mixed these directly on the support itself. I tried 40x40cm canvas but found in this instance I was more happy working on watercolour board at a similar size.

Anyway, these works below (and top of this post) are what emerged. I’m very excited by them and enjoyed creating them so much. They’ve already aroused interest in two galleries. I’m pleased to report I’m taking these first three of this new series to a gallery in Sevenoaks, Kent at the end of September. Now looking forward to what else emerges in this series!

High moorland (mixed media on board) © Mari French 2018

High moorland (mixed media on board) © Mari French 2018

Land of iron (mixed media on board) © Mari French 2018

Land of iron (mixed media on board) © Mari French 2018