Frome Open Studios 2019
provided an opportunity at the right time to exhibit my own work in my own place along with fellow art graduate and mate, Jo Waterworth, ceramicist. We called ourselves Watermeadows combining 2 surnames. We realised half way through, part of the affinity between our 2 areas of work that we showed was rivers and mud! My series of etchings from drawings made from the dredging of the River Brue, Jo’s ceramic pots and masks had slip from Mendip mud, bonfires etc. I showed an equal amount of other work from my interest in emerging and disappearing figures and now including swans
Our 121 visitors showed engagement with our work, engaged us in conversation, and we had a few sales! very much appreciated! and further opportunitites
So onward with an exhibition for me at http://www.bluecedarprintworks.co.uk/ Glastonbury pv Friday 13th of September until mid October and thoughts of possible artist book on Clearing the River Brue
Well a lot of time has passed since my last blog, and a lot has developed, mostly specific pieces of work, mostly print as-one below, learning so much about fine art printing, under Sandra Porter‘s tutelage.
I’ve made more use of my studio facilities in my home with some slowly developing painting and inevitable collages.
My work appearing in 2 exhibitions exhibitions at 44AD in Bath, a group print exhibition, and Press gang and now Frome Open studios I’m sharing my venue with Jo Waterworth Bathspa University colleague, we were both art students in Our Middle Ages!
It’s been a great formative experience to be part of the 44AD associates exhibition, both in terms of my own work receiving positive affirmation, and seeing and participating in the gallery with other artists, some of whom I know a little. The planned visit to RWA with Stuart Geddes will add to this.
Future plans as I continue to create new work, print, collage and painting, the camaraderie of other artists is important to be process, particularly at Sandra Porter’s print studio. The subject of my work continues to be concerned with the allusion towards the figure. Recently both male and female, in my drawings and prints of folks clearing the riverbed at Bruton.
This whole positive process has led into the decision, to become a part of Frome Open studios, to be a venue for my own work and that of Jo Waterworth ceramic artist and poet . We’re going to be ‘WaterMeadows’. Watch this space!
It is a number of months since I last posted on my blog. So much has happened during that time, I have been working on a whole new area work, print and other new possibilities are opening up. Print has been in the forefront of discovery at Sandra Porter’s print studio, being taught by Sandra and working and learning with my other supportive and creative colleagues. Such excitement and positivity. My fascination that I’ve been creating over the past weeks, static prints from speed drawings of folks clearing a river chocked with weeds. One arena of growing confidence has I am sure impacted on other work too, as I work through possibilities for 2019, including association with community gallery 44AD in Bath.
Clearing River 1 Print
Further life drawing opportunities locally of a pregnant model, have followed on from learning on a weekend course with Jake Spicer(Brighton Draw) at West Dean college and I’m looking into a further short course to further enhance my drawing skills.
I started work on a collage that I had worked on 18 months ago, looking at a whole range of images that I had worked with in the past including trees, emerging and disappearing figurative images. The fact was that I have moved on both the work I’m doing, my use of materials and processes and of course the end results. the image below is part way through the current re working. Ive brought together both the red haired woman and an old painting of an Indian bean tree. Currently I’m experimenting with the image by adding gold paint, a bit of Klimt influence possibly. The featured image at the top of this post shows progress to date
Untitled work in progress August 2018 Collage
This Graduate exhibition has run its course, its been a learning curve both showing my own work and dealing with the complexities of setting up a rota involving 35 participants! All in the past now. Near the end of the show I was energised by the sale of my second of the Yellow moves painting to someone whose experience of the Art world is much greater than mine. This painting Yellow Move 2 was put together very shortly before our work was sent to London. it was not thought about or considered in advance it just came! In fact it was too late to be part of the exhibition and therefore was placed in the exhibition shop. The image came about from an image made of a model moving in a life drawing session, which I took into my series yellow move . I experienced this sale was a real compliment.
Within the exhibition itself I hung ‘2 right feet’ based on the topic of bodily imperfection, and rerefered sometimes coordination issues something that I am familiar with, and issues surrounding ageing
and yes I will go on, certainly with more work including more Yellow moves and hopefully in time more formal as well as informal study.
I also exhibited a photographic work, ‘Letting the Light in’ experimenting with twinning images this time on the far from white wall! Both of these works introduced I felt a spookiness
It’s a complex issue about how much quantity of art to look at before it becomes overwhelming, whether it’s a better use of time to spend looking at one or 2 pieces of work in detail, or to go around one or 2 exhibitions to get an overall impression, but is guess it’s how it takes you.
I’ve just spent 2 days in London part with a group from university and part of the time on my own. Usually when I’m with others I go round exhibition more speedily. This time it was reversed. Maybe it was the character of the exhibitions we visited together influenced how the viewing was done. First starting at Tate Modern artist rooms of Bruce Newman and the monumental Joseph Beys. Then the exhibition at Tate Britain All Too Human so much Lucien Freud, then also part of the London Group of the 60s Micheal Andrews gentle painting, teaching his daughter to swim, Kossoff’s the swimming pool and the huge to my suprise Paula Rego. The luminosity of paint in Rego’s work which I had not seen before drew me in to just stand and stare, perhaps I’m answering my own question.
Then Wednesday starting the day in St. Paul’s cathedral communion, under the eye of Bill Viola’s martyrs. Looking and experiencing both physically and visually. It was apparently the feast day of St Perpetua a female martyr featured on Thought for the Day yesterday. what more could I do than look at Viola’s visceral images and participate.