Lost in space…and back to earth

Cropped detail of mixed media Dungeness artwork

I’m steadily getting used to the new studio. Since my previous post, back in early October, I’ve made myself spend a lot of time in my new big white space, even on the rainy depressing days when I didn’t want to. And I’m steadily developing a new series of mixed media works on paper, inspired by that Dungeness visit a few months ago. So the painting is going pretty well, considering, and that’s helped with my apprehension and sense of being ‘lost’ in the space.

Cropped detail of mixed media Dungeness painting

I also rediscovered a book full of images of artists’ studios and spaces which reminded me that, being a bit of a magpie at home (it’s full of vintage/collectibles), I could spill my collecting over into this place and I’d feel more comfortable and hopefully inspired by being surrounded by stuff I love, whilst at the same time reducing that expanse of white!

There’ve been teething problems naturally – the building, like a lot of the airbase, has been basically neglected since the 1980s when the MOD left. Fortunately I have a very practical, patient and helpful other half, so rainwater leaking in from the glass ‘lantern’ in the roof, draughts, problems with getting the log burner going, are sorted or in hand, thankfully. It’s not easy to heat either, so the padded overalls I bought several years ago are still an essential.

Cropped detail from mixed media Dungeness painting

Meanwhile, I’m loving working on the latest paintings – gouache, ink, acrylic etc on paper and newsprint. As with much of my work there’s an element of serendipity involved in the process, of seeing what happens to that ink when I wet it further, of obscuring and revealing, planned and accidental, layering, veiling with gesso, scribbling and scoring, and so on.

Cropped detail from Dungeness mixed media painting

Several works from this series need to be kept under wraps until early next year, but you can see a few cropped details in this post.

Cropped detail from mixed media Dungeness painting

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.

all in the detail…

Reedbed sketch (detail) 1 © Mari French 2017

Reedbed sketch (detail) 1 © Mari French 2017

Funny how the mind works isnt it? Just browsing through my current sketchbook wondering where to get my next inspiration from and of course it’s all there in front of me (which is the point of my sketches after all, apart from the enjoyment of exploring a place and training myself to ‘see’).

Reedbed sketch (detail) 2 © Mari French 2017

Reedbed sketch (detail) 2 © Mari French 2017

But although I paint abstract landscapes, I don’t find it easy to abstract from my own sketches, so I’ve come to the conclusion – why not photograph some of the details/colour combinations in my sketchbooks that most interest me and crop them down, in effect abstracting them further? Removing them from their literal context while keeping the colours and marks formed intuitively from studying the subject (in this case reedbeds). Thus creating fragments of inspiration and signposts from my own work, at one remove from my original interpretation, to lead me to my next abstract landscape.

Reedbed sketch (detail) 3 © Mari French 2017

Reedbed sketch (detail) 3 © Mari French 2017

Blindingly obvious I suppose to some, but sometimes I tend to miss the obvious (am I the only one?). Perhaps getting too bogged down in the well-known ‘must produce work for exhibition/sale’ scenario and forgetting the vital process of mining one’s own sketchbooks and workbooks for my own subconscious insights into a subject.

I prefer not to work directly from my sketches to develop paintings as I find myself getting bogged down in trying to replicate (even subconsciously) the freedom of marks and effects that give life to the sketch, inevitably resulting in (for me) a stilted overworked final piece.

Reedbed sketch (detail) 4 © Mari French 2017

Reedbed sketch (detail) 4 © Mari French 2017

Reedbed sketch (detail) 5 © Mari French 2017

Reedbed sketch (detail) 5 © Mari French 2017

Many of my sketches use watercolour, sometimes ink, wet-in-wet, a technique I love for the glorious random accidental effects that can occur, often suggesting landscape forms. Looking at the cropped details of sketches in this post, I can see how the wands of the reeds, white spaces of the paper showing here and there and feathery ‘bleeds’ of paint/ink now take on a more prominent abstract element in the composition. And that gorgeous granulation! Also interesting is how small details can suggest the larger landscape. (I must apologise here for one or two rather blurry photos).

Reedbed sketch (detail) 6 © Mari French 2017Reedbed sketch (detail) 6 © Mari French 2017

Reedbed sketch (detail) 6 © Mari French 2017

I don’t expect to replicate these effects, especially on a large scale, but, I’m reasoning, if I print out cropped abstract sections from my reedbed sketches I will be effectively removing the recognisable parts of the image, leaving myself with inspirational pieces of colour, light and atmosphere with which to influence my subsequent series of work; suggestions rather than templates.

Reedbed sketch (detail) 7 © Mari French 2017

Reedbed sketch (detail) 7 © Mari French 2017

I’m sure many artists will do this already, but I’m excited to fall upon this idea as a way of working to abstraction from my own sketchbook. I’d love to hear techniques you use to create looser/abstract pieces from your sketches, if you want to share them please do in the comments below.