This is my third year of holding an Open Studio. Joining over 300 other Cambridge Open Studios artists is a highlight of my year. I love all of it – the planning, the build up and most of all, meeting interesting people who come for a browse.
This year, to celebrate my 2016 Open Studio I’ve decided to do a giveaway
The winner of the draw will receive this limited edition signed and numbered giclee print of Poppies in the Sunlight. This print comes mounted and ready to put into a 12 x 16 inch frame.
There are plenty of opportunities to get your name in the draw (see below):
The draw will take place at 6pm on Sunday 24th July.
Your name goes in the draw every time you do one of the following:
- Visit my Open Studio and put your name in the box. I will be open from 11am to 6pm on the 16th, 17th, 23rd and 24th July.
- Sign up for my email newsletter. (I only do 3 or 4 newsletters a year).
- Like my Facebook page
- Share the Facebook post at the top of my page (you will need make sure the privacy setting on the post is ‘public’ so that I can see the share and add your name to the draw)
- Sign up to receive my blog by email
- Follow me on Instagram and pop a comment into the post with about this draw on my feed.
That’s 6 opportunities to get your name in the draw. You could have 6 chances of winning this print.
(About this painting: Every year a few of my works seem to be the zeitgeist pieces of the year. This is one for 2016. It was painted last summer and was then used as the poster image for the Spring Exhibition of the Society of East Anglian Watercolourists Spring Exhibition. The original painting was the first painting to sell at the exhibition. For me this painting represent exuberence and zest for life: a joyful painting)
What’s on show at my Open Studio 2016
This year I have
- 90 of my Running With Brushes paintings on display.
- A number of new watercolours, some of which stem from my South African travels, and some from a recent trip to the island of Paxos.
- I’ve invested in a top quality scanner and giclee printer so this year will also be showing a range of signed limited edition prints mounted and ready to be framed for the wall.
- Seven new greeting cards designs join the collection of evergreen favourites.
I am aware that time is precious and I so value the effort people make to come and see my open studio. My working studio, untidy as it is when I paint, will be open for visitors to look around and I’ll be there to answer any questions and chat about my inspiration and my approach to painting.
And if the weather is kind to us, we’ll even be able to have our tea and cake in the garden. The next two weekends are looking to be fabulous!
I know I’ve been quiet – but that’s partly because I’ve been painting Paxos watercolours.
At the end of February, I stepped into the shoes of Tony White who had persuaded me to take on the role of Chair of the Society of East Anglian Watercolourists. As figurative shoes go, Tony’s are high-quality premium brand – he’s a hard act to follow, but also a huge support. The experienced committee put on a great Spring Exhibition and once it was set up, I flitted off on a sore-needed holiday to Paxos. The marvellous Catherine Hopkins – whose online posts about her knitting, spinning, weaving, dying, sewing, (and so much more) are an inspiration – persuaded me that this was an island that had to be visited, and that we should go off painting Paxos watercolours together.
Painting Paxos Watercolours
I break out in a sweat every time I even think about creating art in a public place. I signed up for the Urban Sketching group in Cambridge. But no. It didn’t help. Every month something more important would come up and I would shamefacedly look at the posts on Facebook, knowing that I could have been along too.
This holiday was an opportunity to crash through this barrier. I bought an Urban Sketcher book and packed my paint and sketchbooks. See what happened:
The Paxos sketchbook
Its a start. And I actually enjoyed it – despite being really slow. The idea of doing a 10 minute sketch, or even more extreme – a 3 minute sketch – is laughable at the moment. But watch this space. Now I’ve started, I’ve got ideas bouncing off the inside of my head in all directions.
But I didn’t just use my sketchbook. I came back with a few paintings for my Open Studios and a collection for Running With Brushes too.
The Paxos paintings
It’s World Watercolour Month in July. And I have Open Studios on the 16th, 17th, 23rd and 24th of July. Feels like an incentive to keep on watercolour sketching.
This year, the Society of East Anglian Watercolourists will be making some changes to the members’ Spring exhibition.
About the Spring Exhibition:
Timed to fit in with the Bury Festival, the 2016 show will be staged in the beautiful Bury St Edmunds Farmers Club, where visitors will be able to treat themselves to lunch or an afternoon tea. A selection of paintings from the exhibition will also be available on the society’s website.
I’m playing catch up with my little watercolour sketch cards this week. I ran out of time to write a post last week for a number of reasons, but mainly because I am organising an exciting Running With Brushes exhibition.
I have the support of nine other fabulous artists in Cambridge who will be exhibiting with me – not to mention the 30 other artists who have so generously donated works to Running With Brushes. The website is up, the artists are ready and now we start with spreading the word. So if you’re in the Cambridge area and you fancy a grand night out with live music, a fantastic art exhibition, the chance to meet some exceptional artists, and to take home one of the gorgeous little Running With Brushes watercolours – please consider buying a ticket and spreading the word. (Early warning – you may hear a bit more about this event from me as the event unfolds)
So now you know why I didn’t post last week, here’s a selection of the watercolour sketch collection that came off my brushes.
Nightingale song inspired this sketch. On one of my London work days I heard my first nightingale. Sound waves in the dusk came to mind.
Creating order from chaos. I’m going through an exercise of organising my palettes. I’ll blog about this some time in the future – I’ve started working through my paints to find the single pigment transparent colours. More on this later.
The strelizia in the office produced a single flower/. I loved the dramatic shapes of the spikey petals. They called for a layered abstract.
Sitting in the Zurich airport I thought about what defines Switzerland. The essence of the Switzerland I saw last week was many shades of grey, blue skies, mountain peaks and a splash of red.
Taking off – I challenged myself to paint one of these on the plane. This was painted at 38000 feet above the earth.
Energy pods. Shiny gold cones of wake-up boost. They’re not very politically correct these days.
Back to the studio now for a bigger piece.
Last week I committed to sharing both the good and the less so good on my journey towards abstract watercolours – and so I am doing just that. Which means there are pieces of work on this website now that I wouldn’t normally be sharing.
Given the purpose of the project: to break down my creative block and (as always) to learn I’ve made a couple of adjustments to my process. I’m working with only three brushes for the moment: a flat brush, a dagger brush and a sword brush. These may change in time, but for the moment, I’m keeping things simple and using this as an opportunity to master these brushes.
Secondly, I’m limiting the time spent on each painting, as far as possible, to 15 minutes. This stops me from overthinking a piece of work, and its probably the only way I could manage anything close to a daily painting, no matter how small.
Is it working? I’ve certainly produced little abstract watercolours with a wide range of styles, subjects and moods. Its getting me back into the painting groove again and making me experiment more again. The process is definitely loosening up my painting.
This Batch of Abstract Watercolours:
There’s a question about where the line is between abstract and representational artworks. For me, the line is fairly close to representational. I don’t have a problem with images that are reminiscent of real things – a semi-abstract is still an abstract if it evokes a feeling, or expresses the characteristics of a situation.
On Friday I had the frustrating experience of having to run some errands. I discovered that Friday morning is a bad time to be anywhere near the shops. There’s a sense of frantic business and at the same time, people randomly wandering and getting in the way. It felt a bit like an obstacle course.
This is not my favourite work of the week. I recently got hold of a new luminescent ink which I wanted to try out. Our visit to e-Luminate Cambridge seemed to be an ideal subject for the inks. Working fast meant far too little control using materials and tools I’m not accustomed to, and the results were messing and not inspiring at all. It did make me start working on controlling inks for future works.
We had a bunch of tulips on the kitchen table. The pod-like shapes of the blossoms called me. I also started working on paper I’ve not tried before: Fabriano HP.
My favourite of this bunch was inspired by the snowdrops I notices on my walk through the churchyard. They are delicate and chaotic. Pristine and tangled. Hopeful and transient.
A streak of darkness entered our day on Tuesday when we were forced to contemplate the possibility of losing Horatio who has been ill for a week. Remarkably, he’s still hanging in and somedays bring possibilities of a healthier future for our very special feline.
The trail of abstract watercolours will continue.
I got stuck. My painting wasn’t going anywhere special – so I started a watercolour marks project. I’ve been wanting to develop a more abstract approach to my painting for some time. After being away from my studio for almost 4 weeks in December and early January, my mojo didn’t come strolling back when I picked up my brushes as I expected it to. It was well and truly on holiday with no intention of coming back.
So I patiently pottered in the studio whenever I had time. I mixed paint from pure pigment and started trying it out on a set of cards. I tidied. I bought a few new books for inspiration and information. Finally, I gave up waiting for the painting motivation to reappear spontaneously and decided to get stuck in to a project making watercolour marks.
And yes, before you say it – that is pretty much a description of watercolour painting. The distinction is the difference between playing (experimenting) and taking a more focused approach to creating a completed painting.
I was having a conversation with Noel Gray on Monday. He mentioned in passing that he’d just squashed his dinosaur. (Not your average business conversation!). What he meant was that he had squashed his origami dinosaur and would have to repair it. And there we had the start of my watercolour marks project. I had a mental image that had to be captured.
I decided to take a journey towards abstraction. I define abstract paintings as those which are paintings ‘about’ the subject rather than paintings ‘of’ the subject. That could mean capturing a quality, an essence, a thought which is sparked by the subject.
The Watercolour Marks Project
My intention is to paint a postcard-sized abstract every day. They will all be very different from each other because I will be pushing my boundaries. Some won’t be particularly good, but I will be brave and share them anyway because this is a journey and there will be wrong turns along the way. So here we go:
I had to start with a painting about a squashed dinosaur. I tried to capture a sense of ‘Squashedness’.
Day 2 was a restless day. There was calm beneath, but my mind was leaping all over the place with new ideas. I blame the watercolour marks project.
On day 3, I had a conversation about history and the way unforeseen events can change our direction. Events overtake intention.
Day 4 was about recurrence. The cat ended back at the vet (Horatio is an expensive pet right now) with a recurrence of his urethra problem. It was time to paint recurrence, and end the week with the thought that there would be a recurrence of abstract paintings in the coming weeks.
Handmade watercolours made – now the fun of using them begins.
Until I’ve tested the paints for consistency and lightfastness, I’m not using them in any painting that’s for sale. I have to be able to guarantee the quality of my materials and while the handmade watercolours are really interesting, they’re not yet tried and tested.
In the meantime, I’m getting to know them by painting a series of greeting cards which are being sent off to family and friends.
Testing handmade watercolours
Here’s my testing process so far:
Naturally, I’m creating swatches in my colour journal. The details will be added as I get confirmation of the characteristics of each paint.
I also wanted to see how the paint reacted in different papers. As I mixed them, I tried each one on three sheets of watercolour papers of various weights and textures. They reacted well on all of them. Now I’m checking specifically for colour fastness – which will take time.
To do that, I’ve painted a stripe of each of my 13 handmade watercolours on two different papers. One is a 300lb watercolour paper, and the other a mixed media paper.
Each sheet has now been sliced down the middle. Half of each sheet has been placed in a brown envelope and placed between large books on my bookshelf to block out as much light as possible. The other half of each sheet has been placed on a south facing windowsill where it is exposed to moderate sunshine. Next January, I’ll compare the sheet halves and see how well the sunlight exposed paint has fared.
Another article about my handmade paint project can be read on the Wash a Week Challenge website
It all started with a visit to an art shop in Venice where the delicious display of pigments in the window tempted me inside.
where the delights of making watercolour paint became apparently. Look at all those gorgeous colours lined up in shiny glass jars!
I had to have a go at making watercolour paint, starting with a festival in blues and then added 7 other colours to increase my Venetian palette. Unfortunately, these bags of loveliness don’t come with instructions. I had to start by researching a method and recipe.
Recipe for making watercolour paint.
Start by making a base for the pigment.
- 1 part gum arabic
- 3 parts warm water (I used very hot water as its easier to dissolve the gum arabic)
- 1 part glycerine
- 1 part honey (optional)
Then mix in pigment to the base in a 1:1 ratio.
In the first phase, its important to make sure the gum arabic is fully dissolved. In the second phase, mix until the paint is smooth. It takes longer than you think.
Once mixed, the pigments stay wet for much longer than the commercial tube paints. I presume this may be partly because of the glycerine and honey additions. The effect of this is to make the paint slow to dry on the paper.
I’m still getting to know these paints. I’ll be testing them next and will write about my results. For one thing, lightfastness on any of these is an unknown. I can’t use them in any paintings for sale until I know how they react over time.
I started with a small batch of each colour – and still have a (very small) jar full of each colour I bought. This is years of supply at the rate I paint.
It may not be necessary to go all the way to Italy to have a go at making your own paint. There is an art shop in London which supplies pigments, resins and gums. I’ve not been there before, but it looks as if its worth a visit.
A word of warning: I was careful to wash my hands thoroughly after making each batch of paint – its a messy business. Strictly speaking, I probably should also have used a dust mask as I don’t know the toxicity level of any of these pigments. I will be getting a good quality mask for future paint mixing and I would suggest it for anyone wanting to try making their own paint.
The annual SEAW selected exhibition started on Monday 5th October with a preview and prize giving event. 182 paintings were delivered to the Wymondham Art Centre on Sunday afternoon and Monday morning by 38 hopeful artists. By Monday afternoon, judges Olwen Jones RWS, Julia Sorrell RI and Ann Roberts of WAC had selected 82 paintings for the exhibition and the hanging committee was hard at work putting them on display.
SEAW Selected Exhibition – 2015 Prize winners
The judges awarded six prizes from these paintings:
Mary, by John Glover was awarded the RWS Presidents Award and cup, and will be hung at the RWS Open Exhibition at the Bankside Gallery in 2016.
Other prizes were awarded to Tony White, Ruth McCabe, Alan Noyes, Gilly Marklew (who was one of my first watercolour tutors) and finally, to my painting, The Amphitheatre. I was over the moon to have received this endorsement. Its a first for me and I’m deeply honoured to have my painting hung on the same wall as such a talented and experienced group of watercolourists.
The Exhibition is on until October 18th.