There’s a bit of a buzz in the house at the moment. We’re getting ready for Cambridge Open Studios in a fortnight.
I had the pleasure of going to see the studios of two other artists yesterday, both are experienced artists and have strong styles. They have very different styles of Open Studios and I was impressed by them both for different reasons. Jo Tunmer and Claire Marie Wood inspired me in different ways which was fabulous when faced with a weekend of framing, and organising to get ready. And it was lovely to have a chance to visit a couple of other studios. So often its not possible if your studio is open on the same weekends.
After a couple of days of working on the preparations, we’re not quite there yet, but we’re making progress. The framing is done:
My Running With Brushes will be on display providing some exposure for the project. I wish I could display the whole collection, but even without being able to show the works of other artists, it should raise awareness.
Cambridge Open Studios in Whittlesford
We’re having an Art Safari in the village to make Whittlesford a good destination for Cambridge Open Studios visitors. With 4 artists works on display within a 5 minute walk, visitors will have plenty to see. It’s taken a bit of organising – firstly to make sure we could all be open on the same days, then to arrange our preview evening for the same time and date. Finally, we got the marvellous Lori Bentley to design our map which will be available at all studios and has gone out in 400 guidebooks around the area.
Between the four artists taking part, many mediums will be on display: watercolour, pastel, oil, acrylic and collage. The range is rich and the colours vibrant.
If you’re in the area, pop in for a coffee and say hello.
For the past three weeks I’ve been painting South Africa. I’ve managed to get my brushes out a few times on this trip – each time the result has been very different.
Every on of my South African journeys invariably involves Cape Town for work, and Johannesburg to visit my family. Both of those are special times for me: Cape Town because it is a stunningly beautiful city and I get to catch up with people whose company I really enjoy. Johannesburg because it’s where I grew up and there are loved ones there who I will always miss. Every chance I get to see them is special.
We feel privileged to be able to introduce UK friends to this beautiful country from time to time. This year, Hayley and Simon joined us in a meander through the Drakensberg and the Natal Midlands so the men in the party indulge their fascination with military history and take a Battlefield Tour (Anglo Boer War).
Our Drakensberg time was spent at the wonderful Montusi Mountain Lodge. We had four days of being utterly spoiled with wonderful food, fantastic scenery and staff who could not have been more friendly. Every single person at Montusi went out of their way to make our time there very special. We hiked, we ate, we laughed, we rode and we fell in love with the place. With two photographers in the group, I’ve got more than enough reference photos to ensure there will be more paintings of the Drakensberg from our Montusi days.
Painting South Africa: The Drakensberg
Anyone who has seen my mountain paintings will know that I am drawn to the majesty of towering peaks and the scale of big landscapes. The Drakensberg is a place I can just feed my visual senses with images and ideas for painting.
We’ve moved on to our final stop on this trip: Glen Ormond in the Midlands. On our first evening here it was clear that this week would hold as many great surprises as every leg of this trip has already delivered.
For many artists there’s something quite seductive about a big, wide sky filled with clouds. Painting atmospheric skies is something that calls us.
We all love a clear blue summer sky, but visually, they’re just not as interesting as one that’s filled with clouds. They lack something special – big moody atmosphere!
Painting atmospheric skies on two continents
The sunsets over Istanbul are spectacular. Its the combination of the sky line and the water seem to work perfectly together to create that atmospheric sky. When in Istanbul, I can recommend a ferry ride across the Bosphorus at the end of the day. If you judge your time just right, you get to see the perfect harmony – and that’s what makes an artist want to get painting atmospheric skies.
And then there’s a sunrise sky in the United States. This painting is derived from a photograph sent to me by an athletic friend who noticed the beauty of the water and sky during his morning run in Wilmington. The first attempt to capture the serenity of the scene was in pure watercolour. This first small Wilmington painting and the view from the Bosphorus image were both done for RunningWithBrushes
The mixed media version of the image took longer – it’s had a number of laters applied to get the right textures. Its darker, and moodier, and it certainly has atmosphere. There’s a sort of ‘noir’ feeling about the final image. And despite being derived from the same photograph, they have very different feelings. Same water. Same sky. Different colours. Different textures. Very different mood.
Last weekends colours and images have stayed with me and are reflected in more Istanbul watercolours this week (at least influenced by something from Istanbul if not a painting of Istanbul itself.
The sights, smells and sounds of the city are more than memorable. The streets are filled wit vendors – of hot roast chestnuts and freshly squeezed juices (orange, grapefruit and pomegranate). Seagulls by the thousand shriek incessantly as they follow the ferries, looking for offerings from commuters. Beautiful sunsets across the water, silhouetting the towers and minarets of the mosques and the museums. And then there’s the intense (almost to the point of sensory overload) sights and sounds of the markets, the historic buildings, and the interiors of the palace.
Istanbul Watercolours – Colour
Blue is the dominant colour of the wall decorations. Ancient turquoise tiles, beautifully hand painted adorn vast areas of wall space in the Topkai Palace, the Blue Mosque and Ayasofya. I had the urge to paint in Turquoise this week. Lori always says that the colours you wear influence the colours you paint. This may be because you see them all the time while you’re wearing them. It’s certainly true that turquoise tones and teals are my favourite colours. I wear them a lot and they often feature in my paintings. Watching the Ray is part of my Wash a Week Challenge for this week, and will be making an appearance on Running With Brushes very soon.
The sunsets over the Bosphorus are wonderful. Clouds waft across orange and pink skies revealing the many towers and minarets across the city silhouetted elegantly in windows of colour. A little sketch in my colour journal captures the image and will always remind me of a ferry ride across the water, looking back towards the old city at sunset.
I’ve continued gradually sorting through paintings and refreshing my Artfinder portfolio. It has been sorely neglected and I find there are many paintings on my walls which haven’t yet found themselves onto the Artfinder page. The update will continue over the next few weeks.
Two paintings went up this week – both abstracts:
Outeniqua Mountain Mist was painted from the platform of a treehouse as I looked out over the mountain range in the distance.
Rain and Spray is exactly what it says on the can – a study of water in various states. Specifically, water in motion as rain and as ocean spray.
This has been a weekend of Istanbul Art for me. I love travelling and these days, new places are quite often also a source of new visual inspiration. This was absolutely the case with Istanbul.
This is a city with so many facets. To start with, it spans two continents. We are staying in Eastern Europe, and last night, popped across the river to have supper – in Asia. I love the idea that this city has one half in Europe and the other in Asia. And the two sections couldn’t be more different in feel. The European side houses the old city and features the historic buildings we all know about. The Asian side is buzzy and modern and features rows of contemporary pavement restaurants and English language schools. Both side are fun – in a very different way.
My Istanbul Art
We’ve had so many places to see in only a few days so my own art has consisted of a few sketches. There will be more when I get home though. My head is filled with image and ideas.
The Grand Bazaar is worth a visit – but expect to be constantly asked to come and look at goods. Every shop seems to employ someone to stand at the door and entice customers in – and they can be quite persistent. Its not so surprising when you realise that there are around 5000 (Yes, five thousand. That’s not a typo) shops in the bazaar and many of them sell the same sort of goods. The shops are sometimes no more than stalls, but every one is crammed with wares. This covered market dates back to 1461 and the vaulted ceilings are all painted with complex ancient patterns in yellow, green, blue and red.
The Blue Mosque and the Ayasofia are both on everyone’s ‘must see when visiting Istanbul’ lists. And now that I’ve seen them, I can understand why. We saw both on one day and my preferred one of the two was the Ayasofia, simply because it has such a fascinating and complex history which shows in the building. In a busy day, I sat on the steps for 10 minutes after visiting these two impressive buildings, and tried to capture the imposing feel of the Blue Mosque in my sketchbook.
More about Istanbul art in a future post.
Wash a Week Challenge – Back to the Quinacridones
This is Week 5 of the Wash a Week Challenge and I’m exploring Quinacridone Purple and along with a different type of sponge for painting.
My next showing will be an exhibition at Windmill Art in Linton with Mark Judson.
Mark’s ceramics are well known in South Cambridgeshire where he exhibited for many years while teaching and heading the art department at The Perse School. I recently posted a photo on Facebook of the pot I decided I just had to have after seeing a picture of it. It was far too big to mail so we took a long weekend trip to France to collect it. It now stands proudly in our lounge and is a frequent conversation piece because of the beautiful delicate colours in the glaze.
Mark’s work can usually only be seen at exhibitions in central France where he now lives. This is a rare opportunity to see them on show in the UK again.
I will be showing watercolours themed by my travel experiences. Every country has it’s own special atmosphere and I aim to capture some of this in my landscapes. These are the works that will be on show in October.
Today I leave for my latest trip – a painting week on Belle Ile, France. I’ve been sailing in this part of the world before and some of the sights and sensations of Island life are bound to make their way into the exhibition at Windmill Art. There will be some paintings to see that are ‘hot off the easel’.
About the Exhibition at Windmill Art in Linton
Windmill Art is, as the name states, exhibition space in a windmill. The venue has ample parking and is close to the A14 and M11. For an invitation to the Preview evening, please sign up for my newsletter. The invitations will be going out very soon. I hope you can join us at Windmill Art on the first weekend in October.
From time to time I find it a struggle to get into the flow of painting – that’s when I know I’m going through a painting style transition.
At the moment I have 4 paintings on easels around the studio – and they’re all frustratingly stuck. One is just not exciting – it needs something to bring it to life. One was too dull – it’s been washed back and will be redone in different media. One is experimental – I’m learning a new technique and its not quite working yet. And the the fourth one wasn’t working tonally, but it’s beginning to get there now. They will come together – I just have to remember to exercise patience.
Another knotty little question I’ve been wrestling with recently is whether to keep on blogging. If you add the writing time to the time it takes to maintain an online portfolio or two, and the Running With Brushes website – it adds up to quite a few evenings of laptop use. The sacrifice is painting time.
It’s actually the process of my painting style transition that has made me recognise that one of the benefits of blogging is recording those changes. My blog is a journal of my painting. It’s a great way of capturing my thoughts and the progress I make as I go through my experiments and develop new ideas.
My current painting style transition
I’ve no idea what will come out of the other side, but the little painting of my almost empty tubes of paints – some of my favourite colours – is the first sign of new elements of bold colour and semi abstract style that’s emerging.
I’ve always been a bit of a colour junkie. Now it’s just getting bolder and looser. It will be interesting to see where it takes me.
I decided to run another of my little comparison experiments with these triad tree paintings. Only there turned out to be two lessons it in.
I’ve been in the studio more than usual this week – which is a bonus. I had a small operation to remove a benign growth in my neck last Wednesday. Having to be at home, and resting, has meant I’ve had a bit more time to go and potter quietly in my own special den. (I do love being in the studio. It smells of paint, and is filled with colour and books and all sorts of wonderful food for the senses)
Using the same paper, and the same three primaries (Perylene maroon, Aureolin yellow and Winsor blue), I just changed my technique slightly when working on these two triad tree paintings.
For the Autumn Triad Tree, I sprayed the paper before laying on the paint. Not very much. Just enough to give the pigment some movement to when it hit the paper.
For the Summer Triad Tree, I left the paper completely dry. The colours stayed broadly where they had been placed, just mixing gently with those directly adjacent to them.
So, just changing that one small variable gave each of these paintings a very different feel. The Summer tree is more alive and vibrant, and the autumn tree is fading softly into dormancy.
The Triad Tree Paintings
Here’s where you can see the paintings on the Running With Brushes website:
I mentioned two different lessons. The second one came when my husband looked at the paintings. Aside from the outlines of the trees, he could not see the difference. I may have mentioned it before – he’s red/green colour blind. Basically, the changes in the way the colours mingled were not apparently to him. He can see the tonal differences, and the outline, but the colours don’t stand out for him, so the difference in technique is completely wasted on him.
The Long Shadows watercolour is another one of my small paintings. You’ll be seeing a few of those on my blog in the next week or so. But that’s mainly because I’ve been neglecting them for some months.
The overall goal of painting 1000 small watercolours as part of the Running With Brushes project had a great start – we reached 360 paintings in the first year. This has only been possible with the help of all the wonderful Running With Brushes artists.
However, in the lead up to taking part in Cambridge Open Studios, my painting time was dedicated to creating more works for the exhibition. Now, after two weeks of breathing space, I’ve started on small works again. I’ve got a few bigger ones on the easel as well, but I’m enjoying doing some quicker pieces in the meantime.
Long shadows watercolour
All my life, I’ve loved trees. As a child I was constantly climbing them, invariably going as high as I could get. There’s a majesty and a timelessness about large trees. Very old trees have a particular charm (and I may be painting some of those in the near future too). I’ve now got a collection of tree photographs to inspire me.
Most summers we spend some time travelling in Europe. More often than not, we go to France for a few short breaks each year. Recently we’ve been to Italy as well.. In both countries, I’ve noticed the structure and order of particular tree formations. I’ve been drawn to the long lines of Cyprus trees, standing tall across the countryside. They look like sentinels standing to attention along roads and long driveways.
In this Long Shadows watercolour, early evening light forms long elegant reflections of the line of tall trees. And at the same time, the long shadows spread across the land offset the soft golden glow on the fields.
I’ve been working through photographs of a range of Tuscan doors. They were taken one afternoon on our holiday in that part of the world last month. (These Tuscan Doors are from the Running With Brushes website)
We went off on an excursion to see the hilltop towns of central Italy, many of which have a link to the work of the artist Piero Della Francesca who famously painted the pregnant madonna.
Starting in Umbria and meandering over into Tuscanny, the drive is beautiful. It invites a slow ramble up and down some winding roads which traverse the hills and valleys between Medieval towns with magnificent walls.
For me, the most interesting aspects of these towns are the old bits. The narrow roads within the old city walls. That’s where all the character-filled bits of buildings can be found. And somehow, the Tuscan doors seem to be a great feature of the buildings. I’ve seen similarly interesting doors in other parts of Southern Europe, but this part of the world seemed to strike me as having a deliciously wide variety from which to choose.
Our Tuscan Doors route
(or the official version – the Piero Della Francesca Route)
One of the reasons for this route is that Piero Della Francesca, unlike many of the best known painters of the time, does not have his works in many of the major museums. Instead, he chose to stay close to his roots and his works have remained in the part of Italy that he loved.
– Start in Sansepolcro has a beautiful walled centre. Park just outside the walls and amble along to the Museo Civico to see The Resurrection
– Monterchi is where the pregnant Madonna can be seen. I didn’t think much of the museum dedicated to this painting. The staff were lackadaisical and not particularly interested in visitors, and the museum is small – leaving the visitor thinking, “Is that it?” However, as part of the drive, this is a glorious part of the route.
– We missed seeing Rimini and Arezzo where I believe there are some spectacular works, but that was because we stopped for lunch in glorious:
– Anghiari. I was utterly charmed by this town. We visited the little Da Alighiero restaurant for a lunch which ultimately lasted almost 3 hours. Husband and wife team Gianni and Sylvia pull of that perfect combination of fantastic food and great hospitality. On the way back up the hill, we took photographs of the town’s Tuscan doors. Every one seemed to entice us to stay a little longer and explore this wonderful town.
Whether you’re interested in Piero Della Francesca, medieval towns, great old architectural features, or just plain fantastic places to do long lunches, this route through Tuscanny is hard to beat.