Nous sommes arrivés!

June 15, 2013 in Charity, Inspiration

The final day of the London to Paris bike ride was the longest, in riding terms and in hours.

We set off from the country town of Gournay-en-Bray in glorious weather. The sun was shining, but it wasn’t so hot that the cyclists were melting away. This is what it should have been all week, ideally.

Although we had the overnight stops pegged down from information we’d picked up from the web, and had pre-booked all our accommodation, we were working out the meeting points during the day as we went along.  Ideally we wanted somewhere not too big that it made it difficult to find each other, but big enough to have at least a cafe or restaurant so we could grab a coffee and use their restrooms. We managed to get that sizing badly wrong on the last day.

Our first stop was in Gizor which looked, on the map, to be a small enough town to make it easy to locate each other. We chose a street to meet in, and the cyclist set off ahead of the drivers. By the time we arrived in the car, the town’s market was in full swing and it was utter chaos. Parking was almost non-existent and when we finally found a place that looked just big enough for the car and were lining up to start moving into it, the unpleasant little man parked in the space ahead, switched on his engine and very deliberately shifted his car a foot backwards ensuring that he had plenty of space in front of him, and the space was now too small for us to fit into. His defiant stare at us as we sat in jaw-dropping bemusement that someone could be so small-minded, was evidence that this was an intentional move. For the first time, I encountered a French man who lived up to the reputation given them by the English – that of being rude and selfish.

Now that's a picnic!

Now that’s a picnic!

We recovered from our annoyance when we found the cyclists in a cafe and realised that the market would be an ideal place to gather lunch. They set off and we shopped. Lunch was superb! One of the best meals of the trip – and not a pizza slice in sight.  We ate our French market picnic in a park in the next village we had selected. Perfection. Our only misjudgement was that this place was so small it only had a butcher and a baker. Parking was ample though.  Knowing that the cyclists would need to use them when they arrived, I went to ask if there were any public facilities in the village . ‘Oui’, said Madame Boucherie, and directed me to behind the boulangerie. ‘Non!’, said Madame Boulangerie.  So I practiced my Gallic shrug and searched no further.

We motored on to Poissy and checked in to the apartment we’ve booked for the weekend. Then made a mad dash to the supermarket to get coffee, tea and sugar (and returned with three bulging bags of food).

After freshening up, having a cup of tea and dumping any extra weight, left the car at Poissy and all four of us set off on bicycles to do the last 28km into the centre of Paris together. We were pleasantly surprised by the ease of the ride. The cycle paths which run more than half the way in, were easy to follow and in good condition. And when we hit the main streets of Paris at the tail end of evening rush hour, we found drivers to be very cyclist-aware and considerate. There were a few terrifying moments going round some of the notorious insane circles with no lane markings, but even there, the drivers paused to let us through. We saw surprisingly few other cyclists so perhaps the Parisienne drivers were simply stunned at the insanity of what we were doing.

We reached the Trocadero (our chosen finish point) at 8.30pm, 11 hours after the starting time that morning.

Kiff and Helen celebrating the end of 297 km of cycling.

Kiff and Helen celebrating the end of 297 km of cycling.

Would we do it again? Yes, probably, but perhaps over more days so there would be more time to explore the French countryside. This has been an amazing adventure.

If we have the energy, we’ll visit Versaille today and hope to manage to see Monet’s garden on our way back to Calais tomorrow. It’s a place I’ve wanted to see for years.

London to Paris on Two Wheels

June 14, 2013 in Charity

The first two days of our London to Paris trip provided no opportunities for painting. There was just no time, between cycling and getting little sleep on the overnight ferry.

We’ve discovered the Avenue Verte, a rather wonderful series of cycling routes from London to Paris in some of the most beautiful countryside. The French side of the water has far better sign posting and a marvellous cycle route along a disused railway line which is possibly the most pleasant cycling I have ever done.

Setting off to Paris by bicycle from the very English duck pond green

Setting off from the very English duck pond on the green

Kiff and Helen are doing this trip to raise funds for Mind. So far they have raised over £2400 for the charity. Their original idea was to join a big group – one of those organised by a company that specialises in charity trips. After being pressured by the organisers to raise the funds in a very short time, they did some research and realised that if they went it alone, the charity would get substantially more of the funds. Of course, this works far better if you have people who can help you with the organising and transport – which is the point where they turned up on our doorstep and asked if we would be their support team.  It didn’t take much arm twisting for us to agree. Any excuse for an adventure!

So, after months of planning, off we set on Tuesday evening. The first panic happened before we left home when we realised that our bike rack hadn’t been used since we changed cars, and didn’t fit the new car. Mad dash to Halfords to buy a new bike rack and we were sorted. Helen’s suggestion to drive out of London on Tuesday night after the rush hour was a stroke of brilliance. It meant there was only one life threatening moment with a white van man rather than having the nerve-searing experience of dodging London taxis, buses and cars in morning traffic. It then gave them a nice gentle start on Wednesday morning from the duck pond green in front of the hotel.

Wednesday was our only full day of cycling in England. I say ‘our’, when what I mean is Kiff and Helen’s full day of cycling with Marc and me dipping in and out, driving the car and organising everything along the way. We broke the day’s route into three sections and I chose to ride the middle section with them. Oh, how I wish I had looked at the elevation map before I made that decision.

London to Paris bike ride. Day one elevation map

Day one elevation map

 

I managed to drag myself up the hills and sailed serenely down the other side for about 28km – which, given the fact that I hadn’t actually been on my bike for a year, wasn’t too bad, I felt. The respect I had for Kiff and Helen has increased exponentially every day since we started. This is a trip that is made by many cyclists every year – but make no mistake, it is not for the faint hearted. And when you’re going it alone without the support of a crowd of other riders, it’s even tougher.

Aside from the miles of tarmac, the other challenge has been the weather.  The rain didn’t stop. It drizzled down constantly for the entire day. English countryside is stunningly beautiful, with it’s gently rolling hills. When the misty rain sets in, it becomes almost other-worldy and provided you’re not sitting on a bicycle getting drenched, becomes even more alluring.

English countryside cycle route. Ethereal in the misty rain.

English countryside cycle route. Ethereal in the misty rain.

The pizza consumption at supper times on this trip has been prodigious, and owners of Italian restaurants along the way have been celebrating the end of the downturn, I suspect. Carbo-loading after the fact and in preparation for the next leg, has been the focus of the evening meals.

Our ferry left Newhaven at 11.30pm and we were awakened to disembark at 3.30am. After less than 4 hours of sleep we stumbled along the promenade to find our hotel just before the sun rose, fell back into bed for a few more hours sleep, and then the two intrepid cyclists hit the road again.

Despite the continued rain, Thursday was easier. The Avenue Verte’s marvellous cycle path is the best part of this leg. It goes on for about 45 km of the 77 km stretch and is a breeze in comparison to the hills on the way down to Newhaven.

Campagne française - Day 2 scenery London to Paris bike ride

Campagne française – Day 2 scenery

The gentle upward gradient wasn’t even tough enough to make me struggle over the 35km stretch I joined in. The hill that suddenly appears at the end of the cycle path is a bit of a shock after such a chilled couple of hours, as are the potholes in the roads. But since the end isn’t too far off, it’s manageable.

So far, Kiff and Helen have ridden an impressive 185 km. Today is the final full day. The next stop is Poissy, 28km before the final destination: the Eiffel Tower. If they make it in good time, we plan to cycle the last section from Poissy into Paris all together and go for a celebratory supper (quite possibly of Pizza again).

If you fancy seeing how much they’ve raised on this marathon bike ride, here is their Just Giving page. I can tell you that they have been relentless in their efforts – not only on this trip, but in the cake baking, BBQ-ing and general fund raising efforts leading up to the event to raise funds for Mind.  They have a lot to be proud of.

For those who enjoy seeing my painting posts – I managed to make a start last night in the hotel, although it’s too early to post. Photos will be posted in due course.

On y va!

Just a little slice off here, and a little slice off there….

June 11, 2013 in Exhibitions, Garden, Watercolours

In the lead up to Open Studios later this month, I’ve spent some time finishing off paintings. I’ve developed the habit of letting paintings sit at various stages. They stand on easels in the studio or get taped up on the wall while I enjoy pondering their development. In some cases I’m simply enjoying the paint itself. Every stage of a painting has a beauty of its own: It could be the energy of a brushstroke or two, or the anticipation of the next step.  Sometimes they are allowed to sit, just because I’m not entirely sure that they are finished.

Watercolour painting of trees and hills - Horizons

Horizons

This painting started life much bigger and with different proportions. Finally, I decided it would be improved by removing a section of either side (neither of which was terribly exciting) leaving the core of the image with it’s more dynamic lines and sense of perspective.  Sometimes, the critical step in the improvement of a painting is not what you put in, but in fact – what you take away.  Doing so in this case, allowed the distant light over the hills to draw the eye, after an initial lingering on the dramatic textures in foreground trees.

There’s more to do to get ready for open studios. I have my fingers firmly crossed for good weather so we can open the garden to raise some funds for Care for Casualties. The garden looks fabulous in June, provided it hasn’t rained continuously for weeks.

View from my watercolour painting studio

The view from my studio

The view from my studio is particularly lush right now and the doors are flung wide open as soon as I get into it, so as to ensure that I appreciate every moment of it it, whenever possible.

June is definitely Chairty month in our house. This evening we’ve started the bike ride in aid of Mind. There will be sore behinds and many hours of waiting around – but Chris and Helen have raised well over £2000 for the charity so I’m sure they will count it a privilege to have painful rear ends.  More snippets about their progress may creep into this blog in the coming week. You have been warned.

Apple for the Teacher

June 9, 2013 in Painting notes, Watercolours

Inspiration comes from the most unexpected places at times.

It’s almost three weeks since I picked up a paint brush and I’ve been wrestling with painter’s block for the last few days. I find it very difficult to paint when I am travelling. This is a barrier I know I need to tackle. For many reasons, I find my studio a far more productive place to work. In some respects it’s just the practical aspects of having all my tools and materials at hand immediately. There’s the familiar chair, the light exactly where I want it to be, and none of the time pressure associated with painting outdoors with shifting light and unexpected audiences.

I suspect there’s also the fact that my studio is filled with images that inspire me. There are fragments of paintings that worked well, art magazines, reference books, landscape photography books, and notes pinned up all over the walls. There’s very little blank wall space at all.

Even so, it takes time for me to work out exactly what I want to paint, and the tighter the deadline for works to be completed, the longer it seems to take to come up with a subject that inspires. That said, some of my best paintings have been completed the night before an exhibition – stressful though that is.

 

Watercolour painting - Red apple for the teacher

Red apple for the teacher

Last week, I was fortunate to have the benefit of a dedicated tutoring session from an expert in the investment world. He very kindly spent almost two hours explaining concepts I wanted to understand, drawing graphs to make the mechanics clear and translating the unfamiliar terminology. At the end of the session a lighthearted comment about providing an ‘apple for the teacher’ was made, and for some reason that phrase stuck in my mind. So when I needed to find a subject to get my brushes back to work, red apples came to mind.  

I felt very rusty at first – does anyone else get that feeling when getting back to painting after a while? By the time I finished the sketch I was raring to go again, and would happily have spent many more hours in the studio.

Next week, we’re driving the support car for Chris and Helen’s London to Paris bicycle ride in aid of Mind. We leave on Tuesday evening and I expect I will post a few snippets of news as we progress. I may even manage to paint something along the way.

 

Open Studios in June

June 7, 2013 in Exhibitions, Garden, Meet the artist, Watercolours

Where did the last three weeks go?  If feels like ages since I picked up my brushes. But there is good reason. In the interim I have had no studio days at all. I’ve been working in London and then whisked off to South Africa on a business trip so it’s been a bit difficult to get into the studio. For some reason I find it incredibly difficult to get my head into painting when I am working intensely, so the creative side of my life seems to get put on hold at those times. Ah well – it means I have something to look forward to when I have a break.

The next exhibition I’ll be doing is the Saffron Waldon Open Studios weekend of 22nd and 23rd June. We’ll simultaneously be opening out garden and serving tea and cake in return for donations to Care for Casualties. Fingers are firmly crossed for good weather. So if you’re in the area, do pop in and visit.

And if you’re further South, here’s the list of other artists taking part. I only wish I could go and visit some of the other studios.

Saffron Walden Open Studio page 2Saffron Walden Open Studios leaflet

The garden is looking marvellous just in time for Open Studios. Now we just need to hope it stays dry and sunny.

Blooming border in early June 2013.

Blooming border in early June 2013.

Abstracting the Landscape

May 20, 2013 in Notebooks, Painting notes, Watercolours

I knew today was going to make my brain hurt – and I was thoroughly looking forward to it.

 Geoff Pimlott stretched us in all sorts of ways in the SEAW‘s workshop on Abstracting the Landscape. I’ve taken part in my fair share of workshops over the last couple of years and they typically start with a demonstration done by the tutor, after which everyone gets to feel thoroughly inadequate as they try to master the techniques just demonstrated. By the end of the day, the ‘Aha’ moments have happened and the new techniques are on the way to being learned enough to practice to proficiency level at home.

It was clear this one was going to be different when Geoff walked in with just two completed paintings, two wall charts, and three books in his arms.  Once we got going, it became obvious why he chooses to work this way: Abstracting is about the thinking process.

Geoff emphasised how important it is to understand the history and the background to the development of abstract painting in the last century.  We looked at the extremes of abstract work from John Nash whose work is quite representational, who uses extensive planning of the image and the harmony of his palette in his abstraction, to Bridget Riley, renowned for her use of repetition and colour patterns.

Two other artists Geoff recommended  we research were Sir Matthew Smith, and Ivon Hitchens. We were told about Artcyclopedia: a marvellous resource for those interesting in exploring the history and background a little more. The website stores details of paintings from 8000 artists, searchable by name, style of painting, location and many other criteria. I’ve always found that searching for the artist on Google and then just using the Images tab is quite useful, but Artcyclopedia gives an added level of search sophistication.

Of course technique is always critical to the success of a painting. The process of painting: the layering of colour, the use of shape, and repetition in the composition are all important. But given that the possibilities are almost infinite when you’re working on an abstract, it’s the thinking that is critical to success.  Decisions need to be taken about so many aspects. The artist must ask themselves:

- what am trying to emphasise about this landscape?

- am I going to interpret the landscape, or simply paint my reaction to it?

- just how representational do I want to be? How far can I push this?

- what colours does this painting need to make it really pop?

…. and so it goes.

As a gallop through my painting process today, I’m sharing the stops along my journey, (good and bad).

We started with a sketch, or painting we’d done before that lent itself to abstracting. We were looking for good rythme, shapes and ideas in our preparatory work.

Retreat Watercolour landscape painting.

Retreat (watercolour 21 x 21 cm)

We started out by thinking about what we wanted to say about the landscape in our ultimate paintings, and continued on to creating colour studies in preparation for the main event after lunch, which we already knew would need to be presented to the group (no pressure then).

I wish I had photographs of the work done by other members. Every one had their own approach. The use of colour was diverse. Some people used a range of geometric shapes to create their composition, interpreting the landscape through their composition. Others were more organic and it was all about the colour – a way of working that is particularly suitable when the abstraction is a response to the landscape, instead of an interpretation. That distinction was one I’d not thought about before. There is a vast difference between a painting which seeks to interpret the landscape, and one that is responding to the landscape. The former is a more intellectual process, the latter, much more emotional.

Geoff pointed out that, at heart every painting is an abstract. It is a two dimensional representation of the image which uses a range of techniques to create the illusion of three dimensions. So, if we strip out the illusion of three dimensions and actually try to flatten out the image, we are able to focus on other aspects we might want the viewer to see in the image.

Abstracting watercolour landscape colour study 1

Abstracting colour study 1

Stripping the image right back to it’s basic shapes – perhaps a little too minimal, but I do like the palette.

Abstracting watercolour landscape colour study 1

Abstracting 2

Looking for a moodier sky and adding in some detail. I rather like the rhythm of the fence posts, but combined with the greens it made this study a bit too representational.

Abstracting watercolour landscape colour study 1

Abstracting 3

Still too ‘green’ but adding a bit more complexity to the shapes to bring in the distant hills just visible in the original painting

Abstracting watercolour landscape colour study 4

Abstracting 4

This palette appealed. The addition of red seemed to bring a better energy to the painting.

So now, to dive in to the final painting:

Abstracting the Landscape (watercolour 28 x 38 cm)

Abstracting the Landscape (watercolour 28 x 38 cm)

I reverted to my usual love of extreme colour and texture. My abstraction process is definitely a response to the image. It’s a journey that starts and then finds it’s own way to some extent, each step directed and informed by what has just happened on the paper. That’s what I love about watercolour. Every painting has it’s own little surprises in store.

If I were to do this painting again I might not add in the grass abstractions in the foreground – they feel a bit over-representational in relation to the rest of the painting, but overall, I love the process. Expect a few more abstract paintings in future.

Geoff left us with the reminder that we had all started on a journey to abstraction that would, if we worked at it, help us to see the world a little differently, and as a result, to painting it differently. Artists get to choose just how far they take a paintings before stopping. Sometimes we get that bit wrong and it’s too late to pull back, but even if we do go to far, it’s only a piece of paper – and we’ve learned so much along the way.

Despite the fact that my brain feels stretched in so many directions with the new ideas that keep swimming around in my skull, I found the process and the end results both visually exciting and thought provoking.

Just for those who’d like to see the original and abstract juxtaposed – here they are again without the steps in between:

Retreat Watercolour landscape painting.

Retreat (watercolour 21 x 21 cm)

 

Abstracting the Landscape (watercolour 28 x 38 cm)

Abstracting the Landscape (watercolour 28 x 38 cm)

Spring brambles

May 16, 2013 in Painting notes, Watercolours

Painting greens without using green paint again, the bright spring growth and shadows in the ridges of bramble leaves emerging in the warmth were a great subject for a couple of quick sketches.

Spring Brambles watercolour sketch

Spring Bramble leaf watercolour sketch

Taking a break on a walk through Hatfield Forest, I noticed the rich dark red rims on the edges of the bramble leaves. It struck me that there’s a significant difference in tone between the bright reds of autumn, and the dark red rims and veins in emerging growth of springtime. Autumn colours seem to blaze with resistance to the passing of the warm weather.  Red tones in spring are dark and deep, showing the intensity of the growing period just started.

The first little study of three leaves was done in my sketchbook.

Spring Brambles 2 (watercolour sketch)

Spring Brambles 2 (watercolour sketch)

New shoots burst forth, bright green from last year’s darker growth, speeding upwards towards the sunlight with the vigour and energy of spring.  My second sketch depicted the the strength, speed and flexibility of the newly sprouted branch, running obliquely from old-established sections of the plant.

There is such promise in the fields and hedgerows at this time of year.

Mixing media

May 7, 2013 in Balance, The Business of Art, Watercolours

Landscape watercolour painting - Mist Clearing

Mist clearing (watercolour 40cm x 28cm)

So often, it strikes me that there is a parallel between my current painting and something else I’m working on at the time.

For a while I’ve been thinking about the various online profiles we have and been aware that it’s all too easy for social media to give a skewed perception of who we are and what we do.  LinkedIn provides a reasonably comprehensive view of my working life, while Facebook and this website focus mainly on my painting. If you read any one of the three, you’ll get a very specific picture of who I am and what I do – but it’s only a think slice of the whole.

Last week I set up an About.Me page to pull all aspects into one single page. It took a few attempts to get the balance right between all aspects, and a good number of runs at getting the text right. I’ve written before about how difficult I find it to write about myself, and I’m sure I’m not alone in finding it a challenge. I got some extremely helpful feedback from friends along the way which helped enormously to refine my thinking about balance and tone for the content.  In time I’ll probably add some information about my work life to this website so the balance follows through here, but my blogging on this site will still be about sharing my painting.

On which subject – I’ve been thinking about doing some work in mixed media, something I’ve only touched upon once or twice in the past. I find the variety of marks created by different media can give a painting a different type of depth and interest so today, I had a go using watercolour, gouache and gesso in a painting.  If I were to start over from scratch I would probably tweak the composition in one or two ways, but overall, I quite like the atmosphere of this painting and I’ll keep on using multimedia in future. Maybe not for every painting, but certainly for a fair few.

Gone quiet

May 3, 2013 in Charity, Notebooks, Watercolours

watercolour sketch

Putting the garden to bed (watercolour sketch)

I’ve been quiet for the past few weeks and that may last a while as I’ve got a lot to get through at work right now. But I will be back to my old pace of blogging some time and in the meantime I’ll try to post whenever I can manage it.

A couple of weeks ago we went across to West Point Military Academy to watch Nic compete in the Sandhurst Military Skills Competition as part of the team sent over by RMA Sandhurst. I know. It’s confusing having a Sandhurst team competing at West Point in a US hosted competition named after Sandhurst – but that’s just history. It all came about in 1967 when Sandhurst gifted West Point an officers sword which became the top prize in their competition.  This year 58 teams competed from 10 countries in what is considered the toughest military skills competition in the world. And it was fantastic to be there and to be able to watch them all in action.  Our photos of the day are in this drop box file.  We were hugely proud, when Sandhurst Blue Team came in first place.

This post has a military theme overall as that’s been quite high on our activity list recently. I wrote a while ago about supporting charities.  I have always chosen to support charities that I feel connected to in some way, if not personally, then because they are important to someone I value.

For almost a decade now, I have been a supporter of Starfish Greatheart Foundation (more about them in another post some time). And a little while ago I mentioned the fact that I support Care for Casualties because Nic is now in Rifles Regiment – so it’s a very personal choice for me.  When I delivered a commission last week and Marc sold some of his greeting cards, it was great to be able to put the first £70 into the charity page.  I’m now in the process of adding more paintings to my Red Bubble page as all the profits from any of my Red Bubble sales will go to my Care for Casualties page. Unfortunately, Red Bubble doesn’t have a way of making a payment directly to Just Giving, so I’ll need to make the transfers when I receive payment from them. It’s a bit of a clunky process, but worth it for the cause and a nice way of supporting a charity I think is important.

So if you know anyone who is in the market for a red shoe iPhone cover, or some greeting cards – please point them at my Red Bubble page.  And I hope you will forgive me if I post about my chosen causes from time to time.

A snippet about the image on this page – I’ve started a monthly sketch diary in my lovely watercolour paper book. It’s running a bit behind (what a surprise) but I will catch up in time. This little winter grass sketch is from the January page – we were very late putting the garden to bed this year and were still cutting things back in the freezing cold weather so we would have less to do in spring. I have vowed to do it on time next year.  It’s just gone up on Red Bubble and is available as a greeting card or print.

 

The evolution of the Shoe Collection

April 26, 2013 in Inspiration, Painting notes, So, here's a thought, Watercolours

Weapons of Mass Attraction - red shoes

Weapons of Mass Attraction

High heeled shoes have been a girl’s best friend ever since they were first invented.

We love them. Men love them. There’s something very special about them.

My first shoe painting was a little sketch of the back of a single stiletto shoe on a mini card. That first little sketch has evolved into a series of paintings of shoes with attitude.

That little sketch evolved into the she collection: Girls’ Best Friends, at twice life size, seemed to have a personality all of their own. They couldn’t be ignored. Other shoe personalities started to join the group. Cinderella and Debutant are fairy tale shoes. They are a young woman’s dream shoes – impossible to walk in, but oh, so so flirty and girly. But whereas Cinderella is still a bit unsophisticated and naive, debutant is confident and assured: she’s ready to take on the world.

Blue Louboutin shoes reference for watercolour paintings

My Best Friends

Pick me and Little Show Off came to life when I thought about the purpose of the red soles on my reference shoe photograph. They really do say, Hello world. Look at me!”

The last two of my red shoe series are Weapons of Mass Attraction and Weapons of Mass Distraction. There’a one more painting in the pipeline and once that’s done, the shoe series will be done for now.

One of the most satisfying aspects of this series is the reactions it evokes. I’ve always wanted to capture a mood or an idea in my paintings. I want them to make people think, or feel something different as a result of seeing them. Reactions to the shoe paintings have included phrases like, ‘sexy’, ‘powerful’, ‘confident’, ‘she’s not wearing them, so where is she?’

For me, they represent the enigma that is womanhood. The shoes have gentle curves and sharp lines, just like women who are flexible and at the same time, focused. When seen from behind, they represent women taking the lead and knowing where they are going. They most certainly are powerful and sexy – just like the women who would wear them. For me they are a celebration of the best aspects of femininity.

If you want to see the whole collection together, take a look at the Shoe Collection gallery.