Acrylic on canvas, I’m interested in astronomy and this view of the Earth was taken from a photo. It shows parts of Africa, Greenland, Europe and the Americas. I think you can see the wind directions indicated by the clouds.
I’ve also painted views of the Moon, Jupiter and Mars, together with nebulae and galaxies. It may be something I do again.
I added my easle yesterday. Today I’m showing you my easle two years ago, I did a painting of Etruria Flint Mill. It’s also called Jessie Shirley’s Bone and Flint mill I think? It’s the only working Steam driven Flint mill in the country and the flints and bone were crushed and ground using the power of the steam driven beam engine there.
The buildings are part of Etruria Industrial Museum, a complex of cafe, the museum displays, and the Flint mill on the Trent and Mersey and Cauldon Canals at Etruria, Stoke on Trent. I’m not sure of its opening times. But once a month it used to be fired up and you could watch the fly wheel rotating round and the pans where the flints were ground rumbling as the engine turns them. Its amazing to see the industrial archeology of the potteries in action.
I saw this film late last night and was enthralled by it. Each individual frame is hand painted in Van Gogh’s style. The son of the postmaster where Van Gogh used to live goes off to try and deliver a letter from Vincent to his brother Theo, after his death. When he finds the brother is also dead he decides to take the letter to the Doctor who was treating Van Gogh before his apparent suicide.
The film covers the year after Van Gogh’s death and shows in black and white flash backs incidents that might have happened between Vincent and the people around him. This is told through a series of conversations between the postmaster son and various characters.
This is a visually sumptuous film in Van Gogh’s style. The Polish/British co-production is stunning and intriguing. The gradual understanding of what happened makes for a satisfying investigation of the circumstances surrounding his death.
An oil painting on board I did sometime in the 1980’s. It’s a sort of combination of a Pegasus/Unicorn which also breathes the wind. It’s semi abstract with a feeling of being stained glass. I would have liked to have actually made it, if it was possible. It’s quite small, about 12″ by 16″, the colours are quite muted. I love the fun of experimenting with painting. I like the idea of making an amalgamation of creatures.
This is a painting I did when I was about twenty. I was at college doing my fine art degree and I had recently met my then boyfriend (now hubby). This was in my small studio at college. The painting has been on the wall for several years. I painted him sitting on a chair with his feet up. He hasn’t changed too much.
Outside there was snow lying on the hills above the city. You could just see the roofs of the college across the road. The rooms we worked in were reasonably light. I remember the studios upstairs had parquet flooring. It was a different world from what I came from. I’m glad I went.
Artists on Instagram are posting nine favourite images from 2021.
So here are nine favourite images I created over several years. I realised I haven’t done many paintings this year because of doing my Illustration course. These images include a couple of murals and a tiny painting. They show me as an eclectic artist who loves colour, the environment and also abstraction.
I do try and be accurate with my paintings, hopefully getting good realism. I was once criticised in a newspaper review about an exhibition I was part of, they said if I wanted to be a super realist I should have tried harder. The thing was, I wasn’t trying for super realism! If the journalist had actually spoken to me I would have told him that. I do work from photos sometimes, particularly if it’s a commissioned portrait or painting of a landscape. If I do a painting of a steam train it’s got to look right, you can make it up. I love painting, which to me is the accurate manipulation of liquids on a surface. I do try. X
An acrylic on canvas painting I did in 2013. It popped up on my Facebook memories today. I can remember enjoying getting the texture of the building right. It looked like a great place to visit. This portrait was a Christmas commission. The person I did it for was very pleased.
My friend is offering a beautiful print for sale and as a limited edition (not the image here, it has similar colours). I would love it, and it’s at a fair price for an artist to charge. But all I could think was, car tax and other bills are due in January. I have to realise I cannot afford it. Now I feel guilty for just enquiring.
I realise I don’t charge enough for my art. I have this strange idea that I want my art to go to a good home, so I undersell, swap art, or offer ways people can pay in installments. But I’m also doing other artists a disservice. If I charge less, how can they charge more? I think it might be my upbringing. Having a belief in myself? I guess it’s just how I am.
Almost the end of my couple of weeks at the The Waiting Room Gallery at Longport.
I’ve had my paintings up for sale there and sold a few already. But as they are tiny I can’t say I’ve made a massive amount of money (less than £40 so far). But I don’t care, I’m just pleased people liked them enough to buy them.
What next? I might add ribbons to them and turn more of them into Christmas decorations for next year, after all I’m not sure when things will get back to normal (if ever) and at this rate it might be a long time before I can mount an exhibition.