I’m working hard getting ready for my COS weekend at Burwash Manor next weekend where I’ll be showing my abstract paintings alongside the lino prints I’ve been working on. I love learning new techniques and am really happy with how the final editions have come out. I don’t have access to a press so they are all hand burnished, and I’ve married the fixed quality of the lino print with painterly backgrounds which make every print unique.
It’s always good to try something new. Having attended a lino printing workshop by the fantastic printmaker Nina Sage I’ve fallen in love with the process so will be developing some prints to show at Burwash Manor on 27th and 28th of July alongside my paintings. I’m still at the test print stage but am encouraged by the results so far.
Whereas my paintings (often influenced by the natural world) are usually abstract I’m enjoying sticking with representational images while mastering the printing techniques. The prints also allow me to use my preparatory drawings and observations in a new way.
Using the processes and materials to evoke/capture movement in a print through mark making, as in any medium, is very satisfying.
Further developments on the theme of ‘impressions of the ouse’. This series of work has evolved from direct observations, including sketches, photographs and immersing myself in the moment while out on walks. The preparatory work has enabled me to then experiment with form, colour, and materials to produce abstract pieces which, I hope, convey something of the original experience of taking in the landscape.
50 x 50 cm
Emulsion paint on canvas
40 x 40 cm
Emulsion paint, watercolour, pencil and charcoal on canvas
Some of my work is more purely abstract, whereas some pieces are developed more directly from observations and impressions. This pair of paintings – worked on together and designed to be shown individually or together – are an example of the latter. Ongoing work is similarly influenced by the local landscape which is a rich source of inspiration, colour and form.
After working on Winter Light 1, 2 and 3 which are designed to be shown together or separately I developed some pieces specifically as triptychs. I am also planning a much larger series of pieces that can work in combination or individually, as well as some larger landscape format paintings, but in the meantime I’m enjoying the quiet strength in the number three.
These paintings continue to explore mark making directly onto hand stretched raw canvas by dripping and/or painting and/or scraping emulsion paints. Each triptych consists of three canvases that are 41 cm wide by 31 cm high.
Winter Light 4
Red Orange Rhythm
I really enjoy making pieces with people or places in mind. This pair will be going to Manpreet and Ashley in January. Best shown together they could also be hung separately.
In this work I’m continuing to explore working directly onto untreated fabric. I’ve chosen to stretch coloured cotton so that the canvas is more obviously a part of, rather than read as ‘only’ a support/background to, the painting. Each painting is 33cm x 22 cm.
I recently made a series of paintings influenced by the impressions left by winter light during walks. I chose to develop these paintings on raw canvas that I’d stretched, making the mark-making all the more vital as mistakes can’t be painted over.
Each painting is 50cm wide and 40cm high. My intention is that they can be hung together or individually. I’m delighted that one of these will be shown at Hot Numbers from 12 December 2017 until February 4 2018.
It’s always difficult to know when an artwork is ‘finished’. I need to keep some paintings around me for a long time in what I know is an unfinished state before it’s clear to me what I need to do next. This painting was originally done for an exhibition at Espresso Library in Cambridge in response to the space there; however once the exhibition was over I knew I had more work to do as I kept dwelling on the work, itching to make it feel complete. This is the final result.