shades of gold …

Recent Plein air watercolour sketches of …

the reedbeds and whelk sheds at Brancaster Staithe

autumn field further inland

and the glorious beech woods near Massingham and West Acre

… all around North west Norfolk

Whelk sheds, Brancaster Staithe. Mari French

Whelk sheds, Brancaster Staithe. Mari French

Reed beds. Mari French

Reed beds and tidal mud. Mari French

Autumn field. Mari French.

Autumn field. Mari French.

Beech woods near West Acre. Mari French

Beech woods near West Acre. Mari French

Beech woods and stubble, Massingham Heath. Mari French

Beech woods and stubble, Massingham Heath. Mari French

a safer distance …

I’ve been developing my sketch ‘a safer distance’ further (see previous post ‘passing time’). This artwork is acrylic ink and tissue on watercolour paper, approx 40 x 45 cms. 

The original inspiration was the crumbling interior of a 19th century dynamite store at Cape Cornwall, a place I’ve visited a few times this year (see my post on the art residency I took at Brisons Veor). The small austere structure, perched on the rocks above Priests Cove, was originally part of Cape Cornwall Mine. The bolts and bars in the fabric of the interior walls were bleeding rust in a very interesting way. I seem to be very attracted to industrial archaeology lately.

I like that I can see other imagery in this. It feels there may be potential for a series here.

A safer distance. Acrylic ink/tissue on paper. Mari French 2014.

A safer distance. Acrylic ink/tissue on paper. Mari French 2014.

 

Old dynamite store, Cape Cornwall. Mari French 2014

Old dynamite store, Cape Cornwall. Mari French 2014


Venice sketchbook …

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funny how a rough sketch or study can send you hurtling back to the precise moment of creation …

… sitting in the hot Venice sunshine on marble steps by a bridge, or a church, usually in the quieter, humbler ‘sestieres’ of Cannaregio or Castello.

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I remember this while sketching … an old woman shaking a rug out of her window on the third floor stopped to smile and wave to me. In a city inundated with tourists (267 to every Venetian), I appreciated that friendly gesture.

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I took ink-stained tissue paper and pva glue with me this time as part of my sketching kit. It seems to capture the intense colour and light of the city … a bit fiddly but lovely to sketch over, and in the heat it dried quickly.

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The long narrow sketch pad you can see in some of the photos is the ‘Extreme’ watercolour pad produced by RE+new Gallery in Woodbridge, Suffolk. It’s very useful for panoramas (or tall buildings) and great for pen or pencil and wash; but I tend to work in a fairly wet style and I find the paper a bit thin for that, unfortunately. The other sketchbook is a good old small, square Seawhite sketchbook, which seems to take well to wet-in-wet, collating etc.

Okay, end of technical details …

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