Gosh its been quite a while since I last posted on here. It’s been such a busy couple of months. I’ve been away on a 2 week art residency at Brisons Veor, Cape Cornwall, which I’m planning on writing about soon. But in the meantime here’s a quick look at the sketchbook I worked in whilst there, which will be on show at my Open Studios May 27, 28, 29 and June 9, 10, 11 as part of Norwich & Norfolk Open Studios 2017. My studio is in Harpley, Norfolk and you can get more details and a map here. Hope to see you!
Recent markmaking and loosening up exercises helped me get back into painting after limited studio time over the new year, and overcome the dreaded artist’s block. The result was these little studies in acrylic and ink on paper. I used just 3 colours (plus white), watching the interesting colour mixes emerge.
By working on a group of smallish papers fixed close together I could use big gestures to make the marks, skipping from one to the other with my implements or media as instinct took over. The trick with this method of loosening up is not to think too much about what you’re doing.
It’s great playing around like this and it does seem to feed into later work in certain ways. Above I’ve used everything from eyedroppers, ink pencils and several types of brush to fingers and the side of my hand to push and pull the paint around, scribing into it with the end of a small paintbrush.I then did something similar but on a larger sheet and just using monochrome acrylic paint/ink to practice tonal values. (Above). These are great warm up exercises to get you going and deal with artists block.
I had a creative block after getting back from Venice (see previous post here). Floundering around wondering whether I should be painting inspiration from my holiday or continue with the ongoing saltmarsh coast series. Seems obvious now, but anyway, as suggested by a facebook artist friend I cut up a pile of small pieces of Hannemuhle watercolour paper and decided to just please myself and experiment with whatever medium took my fancy, taking the pressure to perform/produce off and have fun.
To my surprise what emerged was a collection of abstract little jewel-like images in which, without too much effort, I could recognise imagery from my recent experiences of Venice and its lagoon. After a few days of experimenting like this I felt confident enough to work in a similar fashion on larger pieces of watercolour board. As you can see from the images posted below, there’s a lot of splashed about ink (acrylic and Quink), oil pastel, Posca paint pens, inktense stick and acrylic paint.
Around the same time whilst researching Venice’s lagoon online, I was delighted to come across the beautiful and evocative La Venessiana blog/website. Set up by Venetian resident Iris Loredana, it shares seasonal family recipes for Venetian food and perfumes and celebrates the seasons and secret places of the city and lagoon. One post particularly fascinated me, giving little-known (to me) facts and background on the islands of the lagoon and the lagoon itself. For instance, I had no idea that the sea lavender that I love to paint on the north Norfolk coast also grows on some of the quiet lagoon islands (plus many more unexpected and interesting connections and resonances for me between the saltmarshes of Norfolk and Venice). Recommended reading for anyone with an interest in authentic Venice and her environs.