sunshine & scallops in Suffolk …

Maggi Hambling's Scallop, Aldeburgh. (photo © Mari French)

Maggi Hambling’s Scallop, Aldeburgh. (photo © Mari French)

A drive of 86 sunny miles to Aldeburgh in Suffolk earlier this week, I’d been invited to take a selection of my artwork to Thompson’s Art Gallery on High Street.

They are a well-established gallery, with several large light-filled rooms on two floors and a reputation for showing quality contemporary art; they also have a gallery in London.

It was worth making the journey – Graham, the manager, and Devi, chose six of my abstracted mixed-media landscapes to hang there.

Thompson's Gallery, Aldeburgh (© Thompson's).

Thompson’s Gallery, Aldeburgh (Photo © Thompson’s Gallery).

Later I had time to wander round the town and seafront. There is quite an art presence in Aldeburgh with several galleries and Maggi Hambling’s famous ‘Scallop’ sculpture right on the shingle beach. The words cut into the metal are taken from Benjamin Britten’s Peter Grimes opera.

On the seafront the interesting structure of the old South Lookout tower is now an art project/exhibition space run by Caroline Wiseman. What an amazing place for an artist! I loved the effect the shadow of its spiral staircase was making on the walls.

Aldeburgh is definitely well worth a trip for artists and art lovers.

South Beach Lookout, Aldeburgh © Mari French 2013

South Beach Lookout, Aldeburgh © Mari French 2013

Inside Out…

Mari French at Highgate Contemporary Art, London

Mari French at Highgate Contemporary Art, London

This week saw the start of mine and Tassie Russell’s exhibition ‘Inside Out’ at Highgate Contemporary Art, London…

I’m very excited at showing my work in such a fresh, bright, welcoming gallery in the buzzing heart of Highgate, London, and indebted to those friends, clients and relatives who made long journeys down from Manchester, Lincolnshire and elsewhere to attend the private view on Wednesday eve. (a few photos from the evening shown here.)

The blurb on the gallery brochures and adverts reads… ‘the contained architectural exploration of space by Tassie Russell complements the open and expressive landscapes of Mari French’.

…you can read more about the exhibition, which runs until 8th July, at this link… Highgate Contemporary Art

Mari French with Tassie Russell & gallery owner Laurie Maclaren

Mari French with Tassie Russell & gallery owner Laurie Maclaren

Inside Out exhibition at Highgate Contemporary Art, London

Inside Out exhibition at Highgate Contemporary Art, London

Me and my good friend Stephen whose support and hard work made this show possible for me

Me and my good friend Stephen whose support and hard work made this show possible for me

A few of my works at the Inside Out exhibition at Highgate Contemporary Art, London

A few of my works at the Inside Out exhibition at Highgate Contemporary Art, London

evolution of a painting…

I recently came across these digital photos of the creation of a work I have on display at the Burnham Grapevine Gallery in North Norfolk just now. Titled simply ‘Red landscape’ it is approx 40x40cm, acrylic/mixed media on canvas like a lot of my work. I thought it might be interesting to show how the painting evolved.

step1 © Mari French 2009

step1 © Mari French 2009

Obviously step 1 above sees the work some way on in its progress. I started by covering the box canvas with a smooth texture paste that I use, spread liberally and loosely with a palette knife. Before this dried I embedded various materials into it such as fine muslin and string, also pressing pieces of corrugated cardboard (peeling off the covering layer on one side, revealing the ridges) to create interesting areas of texture. Then, using a large (4 inch) soft brush – I applied a mix of burnt sienna and yellow ochre mixed with matt medium all over. When that was almost dry, I swept paynes grey across parts of the upper middle and lower foreground, resulting in the above image (step 1).

step 2 © Mari French 2009

step 2 © Mari French 2009

In step 2 above, the sky area, horizon and foreground are suggested with parchment (a pale cream colour I find a bit gentler than white) giving some definition to what I could now visualise as a fieldscape, albeit an abstracted one. This was allowed to dry thoroughly.

step 3 © Mari French 2009

step 3 © Mari French 2009

Step 3 demonstrates the rather drastic technique I often use of sweeping darker paint over  the canvas with loose strokes concentrating on getting into all those bumps and ridges of texture. Before it dries I wipe most of it away with damp rags (have to be pretty quick here). Although this may seem a waste of time (and paint!) I find it gives a subtle depth to the final painting. Incidentally I use a hairdryer to speed up drying times for most works.

I then warmed up the painting with more burnt sienna and yellow ochre mix, and yellow ochre on its own, used fairly dry so it retained the brush strokes, to indicate ‘field’ areas. The finished work is shown below and also a close-up detail showing how the paint clings to the texture of the muslin etc.

Red landscape © Mari French 2009

Red landscape © Mari French 2009

'Red landscape' detail © Mari French 2009

'Red landscape' detail © Mari French 2009