at the easel …

I don’t believe I’ve posted this video of me working in my studio on this blog before. In it I’m working on one of the recent reedbeds paintings in the scrumptious new palette I mentioned in a recent post. Apologies for the less than ideal angle of the camera, I seem to be blocking a fair bit of the process, but hopefully you’ll see enough to get the idea.

I’m in the zone here, happily blending acrylic paint directly onto the support (in this case Daler Rowney line board). The sunshine in my mind from the first day of Spring seems to be emerging in the process!

 

spilling the beans …

It’s been a while since I posted, that time of year I suppose when we’re all hunkered down waiting for spring! However, I was recently taken on by an online gallery Singulart – who are based in France and whose remit is to promote contemporary artists from Europe (France, Germany and UK in particular) to new markets. They have just posted an online interview with me about my life in art, to their blog, which I thought you might find interesting to read.

The link to the full interview is here. Below is a snippet from it…

How did you find your voice as an artist?My earliest memory of art is of my first day at school, I would have been 5 years old, intently drawing marigold flowers in a work book. I can still see myself pressing the vivid green and orange crayons onto the page, forming the petals and stems…The Singulart blog also has interviews with other artists, giving glimpses into their lives and working processes, which you might also find interesting, so after you’ve read mine, why not explore!

getting messy with monoprinting…

Pulling the monoprint © Mari French 2017

Pulling the monoprint © Mari French 2017

I’ve wanted to try monoprinting for some time. The one time I had a go (years back) I was not impressed (excuse the pun) but I think I’d used the wrong type of paper, plate and temperament! A monoprint (or monotype) is a unique print taken from a plate on which ink or (in my case) acrylic paint has been spread with rollers. Marks, textures impressed into the ink/paint and shaped masks (eg. paper) can all be used to create and enhance the final image.

Recently inspired by the beautiful and original monoprints of artist Tonie Rigby I decided to try using a gelli plate. These are very popular at the moment but I’ve not been taken by the proliferation of bright colours and patterns often produced. Gel plates can be a bit tricky to get used to and some artists dislike the texture, but apart from the shape (A4, I prefer square sizes, so may have to cut mine down) I quite liked the slight give of the gel.

Having been stunned by Tonie Rigby’s ‘Urban boxes’ work (see her blog link above), I wondered if I too could achieve something different, a progression of my current painting series maybe. If nothing else it would be interesting and hopefully, fun to try.

 

 

Well, today in the studio it was definitely interesting AND fun. I produced over a dozen bits of rubbish before I started loosening up and getting messy, employing more painterly techniques, which is when I work best. I used various acrylic paints and watercolour paper. As with my paintings I wanted to experiment – what would happen if I used this or tried that? …

I must admit I actually liked the look of inked up gel plate itself, perhaps because the transparent surface added another dimension. Today’s work was just the beginning, I’ve just started and have a way to go yet, but I’ll keep at it. Will post more of my monoprinting attempts at a later date.