New coastline, fresh eye…

Salthouse coastline. Acrylic paint/ink and mixed media on paper. © Mari French 2021

Now that my body of artwork for the Babylon Arts exhibition in Ely in May is complete I can start experimenting again and thinking of new work. As you may know from reading my posts I’m fascinated by the huge and ever-changing East Anglian coastline and a recent visit to a different part of the coast from my usual sketching ground (in a bid to find a quieter spot) had me playing around with ink and ideas in the studio this past week and I want to see where this takes me…

Shingle beach at Salthouse, North Norfolk © Mari French 2021

The weather has been almost unrelentingly stormy, grey and wet recently, apart from one gloriously sunny and mild day spent at Salthouse, on the North Norfolk coast, where the land starts to rise before the cliffs at Cromer. Back in the studio I began to channel this experience, in collage/mixed media, in my workbook, which also turned out a bit stormy!

Salthouse coastline. Workbook collage/mixed media spread © Mari French 2021

The studio has also been pretty cold so I’m pleased to have produced several initial experimental works in acrylic/ink on paper and board, although I have to say I didn’t think they were working at the time. In my mind’s eye I had envisaged something much more abstract and with brighter colours, so was frustrated to find I’d spent several hours messing around with quite monochrome colours in acrylic inks and paint, with loosely representative results.

Abstract coastal painting in mixed media by Mari French 2021.
Salthouse coastline. Acrylic paint/ink and mixed media on paper. © Mari French 2021

Does this ever happen to you? Non-abstract artists may wonder what on earth I mean – surely I could use exactly what colours I wanted and applied them exactly as I intended? You’d think so wouldn’t you?

Well it appears my subconscious often has it’s own agenda. I’m an ‘intuitive’ artist so rely quite a bit on what emerges without my thinking too hard about it. Having experienced a place, probably sketched and photographed it too, I prefer to experiment (play!) with various media and see how my mind interprets it. And I love working like this – it can be very rewarding and surprising. It can often enable me to distill a subject down to the elements that excite me, without obsessing over fiddly detail or accuracy.

Salthouse, experimental abstracts. Acrylic paint/ink and mixed media on paper. © Mari French 2021

However, on this day I left the studio in a tired and frustrated mood, feeling a failure, and at home grumbled at length to my always sympathetic other half, whose usual wise advice was ‘have a break from it’. He was right, the next day, looking at the photos I’d taken of the work, I was surprised – I could see quite a bit in the artworks that work for me. My subconscious had known what it was doing, even if I didn’t have faith in it at the time.

Salthouse coastline. Acrylic paint/ink and mixed media on paper. © Mari French 2021

Sometimes we have to put a distance between ourselves and our new work until we can see it with a fresh eye. I still want to experiment with stronger colours and a more abstract feel with this coastal work, but I realise I may need to let it develop in its own time. At the moment I particularly love the subdued soft greys and soft pink ochres of the two works below even though they are nothing like I had in mind for the subject originally. As usual… watch this space!

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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.

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.