New Year, Fresh Ideas: 2014 Art Plan

New Year is a perfect opportunity to review the past year and think about how to make the most of 2014.

2013 Review

Wow – that was a busy year. It was a transformational year for my painting too. Firsts for me in 2013 were:

Out of the studio:
– First major joint exhibition. This took place in March when I shared an exhibition with Mark Judson and Denise Shearing. It was a great experience: the planning, the setup and the sales. It was a massive confidence builder as it resulted in commissions which have taken me all the way through to Christmas.
– Started Running With Brushes in July. 25 other artists have joined the project and we have now sold 142 paintings, raising over £2100 for Care for Casualties in the process. 312 paintings have been completed for the project to date.
– Held my first Open Studio event as part of the Saffron Walden Open Studios weekend.
– Made my first online sales this year.

Painting:
– Tried my hand at mixed media and working in acrylics on a 2 day workshop with the marvellous Georgia Mansur (expertly organised by Mita Higton)
– 77 Running With Brushes paintings – great for brush mileage
– Explored new subjects and managed my first portrait and figure painting.
– Took part in Leslie Saeta’s 30 Paintings in 30 Days – more brush mileage and a great way to build up my Running With Brushes works.

Things that didn’t work so well:
– I spent a lot of time travelling to take paintings to exhibitions that just didn’t work for me. Some because they were too busy, and some because they were badly organised.
– Although I took my paints and paper with me while I was on work trips, I still find it difficult to get into painting mode when I’m away from my studio.

Here are some of my most popular paintings of 2013:

2014 – The Plan

Out of the Studio:
– I’m planning to be more selective about the exhibitions I take part in during 2014. The time I spend in preparing for an exhibition is painting time lost and I’ve decided it must be worthwhile to warrant that sacrifice. So for 2014, I will only take part in selection exhibitions if I can submit my work online, or it is a local exhibition. I’ll be cutting out those that I’ve tried in past years and that haven’t worked for me for 2 years.
– As other bloggers will know, writing a blog takes a huge amount of time. It’s been wonderful having new readers commenting this year, and I will continue to blog. I enjoy experimenting with paint and the posts about my experiments seem to be some of the most useful. I’m considering a new series on What’s in my Studio which will go through the tools, materials and references I use. I hope this will prove a useful subject for other artists.
– In addition to Saffron Walden Open Studios, I’ve signed up for Cambridge Open Studios this year. That will give people one weekend at the end of April/beginning of May, and two weekends in July to visit my studio. Last year, I loved meeting people who wanted to talk about painting and were interested in my work. More of that in this coming year.
– Lots of exhibition visits, particularly at the Mall Galleries where there are many exhibitions of works from artist I admire and who inspire me to keep on painting and stretching myself.
– Expand my online sales which got off to a good start in 2013.

Painting:
– Continuing my pursuit of brush mileage to improve my painting skills, I am taking part in Leslie’s January 30 Paintings in 30 Days series. I pre-painted my first share which was actually posted online a couple of days ago. But as it’s a gift for someone whose birthday is today, it was done a couple of days ago so I’ve counted it as day 1.
– I’ve spent some of today organising my studio, and resolved to spend more time doing paint exercises and recording the results of my pigment studies.
– There is a pile of magazines and books in my studio which I have read superficially. 2014 will be the year to go through them in more detail and spend time making notes and working on ideas and tips I gather from them.
– More time spent on challenging subjects. Portraits, animals and figure work will be on the agenda.
– Texture, texture, texture – it’s thrilling and I love it when the texture transforms a painting.
– I have a fabulous week of Plein Air painting in France with Olivia Quintin and Fabio Cembranelli planned for September. I’m challenging myself to get comfortable painting outside the studio.
– Doing three open studio weekends means I must paint enough new work to make it an interesting and worthwhile experience for visitors. Setting deadlines for myself is a great way to make me paint, paint, paint.

Happy New Year everyone, and Happy Painting.

White Light, Blue City

Over the past two weeks I have been on an exhilarating exploration of Morocco in preparation for my submission for the Cox and Kings Morocco Art Competition: White Light, Blue City.

My journey started with selecting the photograph which would be the subject of my paintings. Competition organiser Katie invited participants to interpret their photographs as they wish. The challenge for me was that, while I find the blue city of Chefchaouen fascinating, the reference for my subject was basically almost entirely blue.

Not having visited Morocco before, I spent some time on research. I searched the web and looked at dozens and dozens of photographs of the streets, the doorways and the stairways of the city. I questioned people who have travelled to Morocco about what it feels like to be in the city. I experimented with the spices of Morocco to get the smells, colours and textures of the markets. (And yes, there is Turmeric and Paprika in the final paintings – I’m sure you can work out where)

Blue City

I found the city so enticing that I wanted to share more than just it’s blueness in my painting: to extend an invitation to wander up the stairways and alleyways, through the bustle and the spicy aromas of the marketplace, up towards the bright white Moroccan sunlight, to the cool oases behind the blue doors.

White Light, Blue City (39 x 58 cm. mixed media)
White Light, Blue City (39 x 58 cm. mixed media)

Thank you to Cox and Kings for the opportunity to take part in this fantastic challenge. It has been such fun.

If you want to have a look at the paintings done by the other participants, they’ll be blogging their submissions on their site: Jenny Keal, Concetta Perôt, Kim Dellow and Alan Reed. I hope they have all enjoyed painting Morocco as much as I have.

 

Spicing It Up

Art is just another form of communication – it’s a language just like any other. And like any other, it has to be composed of a number of building block. In the case of art, the classical ones (light, composition, tone) are all essential (words, grammar, punctuation).

And then you get the elements that are new and sometimes quite interesting – slang and regional accents, for example, some of which change over time, and some of which stick and become part of the language forever. Art has always had it’s experimental elements that build on the classical techniques. In some senses, because it is an intrinsically creative process, the pace of experimentation may even happen faster than it does in verbal and written language.

Last week while I was talking to friends and family who have been to Morocco, in preparation for the Cox and Kings Moroccan Art painting, a suggestion was made by Vahid who had just come from attending a conference in Rabat. He talked about the street food, the buildings, and the buzz. And the spices. For me, Morocco has two main colour groups – the blues and the earth tones. I’m focused on the blues right now, so the spices weren’t on my radar until that conversation.

The best part of painting is the playing so, inspired by my conversation with Vahid, I just had to experiment a bit. Google gave me a list of spices most often found in Moroccan cooking. Some of them were pretty colourless (salt, pepper and fresh ginger). But there were a few in my kitchen that fitted the profile and had strong colours. A few quick tests revealed a lot:

Cinnamon
Cinnamon

Cinnamon is a non-starter – It’s too dry and doesn’t bind to the paper. Even with a coat of fixative, it’s unexciting. The only thing I notices is that the very dry cinnamon rubbed onto the paper stops the paint from moving across the paper surface very well. The splatters stay very tight.

Paprika
Paprika

Paprika is much more interesting. The grains stay quite whole, but the colour of the spice does dissolve somewhat in water and leave a stain. The grains bind together to create a texture on the paper. Worth thinking about.

Turmeric
Turmeric

The really interesting one in the group is turmeric. The yellow colour stains the paper as soon as a bit of water is applied and it creates some great textures with watercolour.  I love the effect created by splattering wet painting onto the turmeric-treated paper.

The next stage was to try seeing how the spice affected the blues in my palette. More interesting results. And then there are the earthy rust and red colours added to turmeric paper. The difference is less dramatic, but the texture is still interesting.

Turmeric and paint
Turmeric and paint

A pure watercolourist would probably be horrified at these ideas – but I’m having a blast, getting a better feel for Morocco, and my studio smells amazing!

Next post will start dealing with the painting itself – I promise.

 

 

Blue Doors on my Walls

Blue Morrocan doors on my walls.
Blue Morrocan doors on my walls.

The more I paint, the more I need to think about it.  I know that sounds counter-intuitive, but bear with me.

The way I see it, it’s a bit like driving a car. When you start, you’re brain is frantically trying to keep up with everything it needs to do: clutch in, change into gear (OMG, which gear???), foot on accelerator pedal (which one is that? Oh yes, the right hand one.) Hold the steering wheel steady, ease forward, look left, look right. Brake! Brake!. Damn! Stalled. Start over.  When you start the process, you really need the instructor sitting next to you to tell you where to go because you’re just too damn busy working out what your hands, feet, eyes and ears are meant to be doing. Only once those become automatic can you stop thinking about it consciously, and focus on the journey itself.

Fortunately, the consequences of having an accident with paint are usually just putting a sheet of paper in the bin. After a fair number of those painting-related incidents, I started thinking more and more about where I was going with a painting, rather than what colour was on the brush and how much water to include. It also allowed me to become much more experimental with materials and techniques (which I think will be life-long learning because there is almost no limit).

So, back to my first point: these days when I embark on a new painting, I do a lot more thinking about what’s really in the image, why I find it interesting, and what I think will make it interesting to the viewer.

The Cox and Kings Moroccan art competition has got me going down that pathway and I thought I might share some of the process on my blog. So if you’re still with me after my rambling about learning to drive, you’ll see I have pictures of blue doors on my walls. My thinking process isn’t just a quick ponder over a cup of tea.  I’ve printed out the reference photograph on various levels of contrast, as well as in black and white. This gives me references to look at while I think about it. They will also be my guides when it gets to the point of deciding on colour and tone.

Since I’ve never been to Morocco (or in fact to anywhere in the North Africa, aside from Cairo airport), to get a deeper sense of the place, I can only draw on web research and talking to people who have been there. One of the reasons I chose this photograph (aside from my love of the colour) is the fact that it seemed quintessentially Morocco to me. I want the painting to capture something that tells the viewer it couldn’t be anywhere else on the planet.

From the friends and family who have been there I get the message that for them, Morocco represents warm people, relaxed environment, great street food. I’ve heard of fantastic hospitality and wonderful home meals where women went to the market to carefully select the ingredients and then cooked all day. A sense of age and a really lived-in city with old walls that show the marks of many hand prints, hard knocks and repairs over the years. How do I capture all of that in my painting? That’s the big question.

So my first stage is to read, and talk, and think about Morocco and in particular about the blue homes of Chefchaouen to decide what story my painting will tell about the place and it’s people.

One thing I do know is that in the process, more than a few blue doors will probably be painted. If you’re a Running With Brushes follower – expect to see a few there soon.

An while I do so, I will have blue doors on my walls.

If you’ve become intrigued and want to see what the other artists who are taking part in this competition are doing, here are the links to their blogs:
http://glitteringshards.com/blog/

http://blog.alanreed.com/

http://www.davidbellamy.co.uk/category/jenny-keal-blog/

http://www.kimdellow.co.uk/

Morocco – a new challenge

As always, when a new challenge comes along I jump at the opportunity. This time, it came in the form of an invitation from travel agent, Cox and Kings to take part in their Morocco Tours art competition along with four other artists. I’ve never been to Morocco, but my son Chris and his fiance, Helen were there a few years ago and they loved it. This seemed like a great way of stretching myself and at the same time, finding out a bit more about Morocco.

Each artist has been sent a series of photographs of Morocco and has to select one to work from. I’ve always loved travelling. New places are very exciting to explore. I love the process of discovering the food, the atmosphere, the buildings, the people – it’s all fascinating.  Many of my paintings are of places – usually not literal, more an attempt to capture the atmosphere and the space. I’ve chosen this photograph of the blue walls of Chefchaouen (pronounced Shef-sha-wan, just in case you’re wondering). Yes, it’s blue again. I know, I know. I am drawn to blue tones. I love the sense of calm and depth they create.

We’re accustomed to walls being natural tones – white, brown, sand. The fact that the walls in Chefchaouen are blue piqued my curiosity so I set off to find out why they’re all that colour.

Blue walls of Chefchaouen
Blue walls of Chefchaouen

Situated in the Rif mountains in the North West, this ancient fortress town was founded in 1471. The town has had a history of influx of Spanish and Jewish settlers, and it’s from the Jewish residents that the blue walls originate. I discovered that the Jewish refugees started the blue paint tradition in the 1930s. It’s not unusual to paint the lower half of walls with indigo in parts of Spain, as a way of keeping cool and repelling insects.  In Morocco, where the blue tones cover the walls inside and out, it is believed that the tradition has a more spiritual origin. In ancient times, a blue dye made from shellfish was used to colour strands in prayer shawls and mats. This was supposed to aid meditation and spiritual contemplation. In the late 1940s, many of the Jewish residents left the city to live in Israel, but the blue walls have remained as a reminder of their presence and influence. Chefchaouen has a reputation as a place to go for shopping and it’s laid back mood (probably all that glorious blue)

Morocco swatch
Morocco swatch

So now that I’ve become fascinated by Chefchaouen’s charms, I have some decisions to make. Which aspect do I want to convey in my painting? What medium to use? Should I stick with my watercolours, or be brave and add in some other materials?

And finally, which blues should I use? I’ve made a start by painting a colour swatch with all the blues in my palette. Time to look at colour and tone. I’m looking forward to meeting this new challenge. I hope I can do it justice.