Workbook warmups …

abstract collage in mixed media by Mari French contemporary artist
Winter weather, studio workbook collage © Mari French 2021

Since the New Year, as mentioned in my previous post Cold feet… midwinter motivation I’ve been working on a series of small artworks on the theme of winter weather for an exhibition, ‘No Frost at night’, to be held at Babylon Arts in Ely, Cambridgeshire later this spring. There was a call for artists to respond to an archived weather diary from 1963, by Soham resident Betty Mann. I was delighted to be one of five contemporary artists to have my proposal selected for this commission,

These are the workbook warmups from the studio that I created in between the artworks and occasionally a few small details from the works themselves to whet your appetites for the exhibition. I’ve been having a great time playing with acrylic inks, staining and scribbling on tissue papers and other materials and media, and in the process have discovered new effects and techniques – one of the bonuses of being out of your comfort zone (my first public commission) and using new surfaces and media.

Group of details from collage artworks by Mari French contemporary artist.
Small details from new artwork series © Mari French 2021

The above are small details from some of the works in progress. So far I have more works underway than I need for the commission, which I’m pleased about as it gives me room to select the ones that work best. The work has been going very well over the past few weeks, considering the battle to warm up the studio. This has given me room to breathe, step back, and live with them for a while before I decide that’s it and I get down to the finishing touches, varnishing etc.

I’ve noticed the importance of warming up in the workbook in the stalled pauses between work on the actual artworks. The temptation has been to keep working on them, but making myself stop and play (with similar materials) where it ‘doesn’t matter’, often results in a discovery of useful techniques and effects, and a loosening up of my creative muscles!

Winter walk, studio workbook collage © Mari French 2021

I’m really excited about how it’s going and can’t wait to see them displayed together (and to show you the results!).

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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.

Confinement & cul-de-sacs…

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”A time of gifts’ © Mari French 2020

I’ve never left my blog unwritten for such a long time before. It’s good to be back. In the past few months of the Covid crisis, I just haven’t been able to summon up the will or the words to write about my art. As for the art itself, like many artists in these strange times, I’ve been floundering around a little lost for a while. With 3 exhibitions cancelled/moved online, Open Studios also cancelled, galleries closed etc, it’s hardly surprising I suppose. It’s not that I haven’t been painting, and I’ve made myself go to the studio to do something a few times a week at least, it’s just that each spurt of creative activity – sketching, collage, painting – has seemed to fizzle out after a short time. Cul-de-sacs I’ve started to call them.

However, each little cul-de-sac has produced some interesting results, so perhaps they hold some promise for a future way forward; like one of those narrow hidden footpaths you can often use for access to the area beyond the cul-de-sac, the one cars can’t take.

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Ploughed fields & tree belt, near Anmer. Sketchbook. © Mari French 2020

With anything more than a long walk forbidden here in the UK, in the last few months, coastal visits weren’t an option (I live 20 minutes drive from the beautiful North Norfolk coastline, where the reedbeds and saltmarshes are a great source of inspiration), I’ve been out sketching the local fields and farmland – something I haven’t really done since moving to Norfolk 10 years ago.

I loved the way the early spring sunshine caught the ploughed fields, exaggerating the russet and ochres of the sand and chalk soil. And the hares were out in force chasing each other in large groups. I haven’t taken these any further though, hopefully at some future point…

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Ploughed field, Anmer Road, with flint. © Mari French 2020

Meanwhile, at the airbase, outside my studio, is a large cherry tree which was covered in deep pink blossom back in March. It was only when a glorious deep pink started to appear in a series of small experimental works on paper, that I realised how the blossom had entered my subconscious. These works look great on some lovely small white cradled wooden panels I’ve bought. I really enjoyed these but as I said, it wasn’t long before I started to flounder. I keep going back to them, so they’re going to get picked up again at some point.

Later in spring, mostly confined to my garden (I know, I’m lucky compared to many) and with almost a month of warm sunshine, my glorious tulips, ‘La belle époque’, just had to be sketched. Then in the studio, I set about abstracting them, in both mixed media and collage, which I enjoyed, before (yes you guessed it) I once again hit a cul-de-sac. Still, I’m excited by the potential of these small works so who knows.

Below is the mixed media collage I produced as part of this abstract tulip work  (all the papers using in it were created by myself, including the calligraphy). Which reminds me I haven’t posted the experimental collage I was developing back in February before the virus hit, so I’ll add them to the next post (it won’t take as long as this one post did I promise!).

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‘Palimpsest’, mixed media collage © Mari French 2020