A painting I did in situ in a house in Robin Hoods Bay in Yorkshire about 7 years ago. We were away on holiday and we’re impressed by the house which had it’s living room at the top of the building to give views of the cottage rooves and the sparkling sea in the distance. Sometimes I want to visit there again. .
I have been ill and down for a while and I need to start feeling better and reclaim doing some real art. Yes I can work on my small phone screen and create small pieces of digital art, and yes, over the years I have done a lot. But I begin to need to paint again. It must be a good sign? I’ve got to stop being frightened of creating, fear of failure is holding me back. Will I ever get through being blocked? At least now I can admit I want to.
Another painting of the Devon coastline. This is an old photo and I don’t know if I painted it in dark tones or if it was taken in a dark area. The headland in the distance gives you an idea of Devons rolling hills. It’s similar in Cornwall, hills that are rounded, climbing up to the moors. Dartmoor and Exmoor being two of them. Also in the foreground you can see golden sands surrounded by the dark jagged rocks that you see at many of the coves in the two counties. I hope I can visit again soon.
I would spend time at my studio at Spode, painting, or drawing. My plan is to try and go back to it. I spent a few years there, then covid happened and I lost my nerve a bit. I started to go back, but health issues cropped up. If I don’t return soon I never will, but I’ve built a wall round things in my mind. If I can’t do things properly I seem to freeze up.
My ideal week will be less stressful, full of real art, not just quick digital drawings. I would then build on it, even if I was only in my studio a couple of days a week. I would try and produce more small paintings for craft fairs, but it’s about time I started doing some ‘proper’ paintings real fine art, not craft based. I just need to get my confidence back. I have good intentions but I keep prevaricating. Maybe I can have that ideal week. It needs to be soon….
Acrylic on canvas. Devon beach and rocks on an overcast day. I think its near Plymouth, but the painting is probably 20 years old.
The rocks on this part of the coast are dark and craggy. The water makes them darker, with a slight glint to them. They form layers that slope down into the water and there are plenty of rock pools with barnacles and limpets. There might be small crabs lurking under seaweed in them. Between the rocks the sand is sandy coloured (goldish grey). With flat flakes of rock and stones and pebbles in discreet lines rolled into place by the tides. There are also strands of seaweed left at high tide where sand flies and sand hoppers dwell.
Tell us about the last thing you got excited about.
Jupiter tryptic
A couple of weeks ago I was excited that one of my paintings would be entered into an astronomy competition. A magazine wanted to see people’s artwork so I sent in this image. Then I got a message asking me to send in again with a jpeg (it was) as an attachment (my phone sends the image embeded in the email).
I tried again, it did the same trick. I started to walk upstairs to send the image on my PC instead. Snap! That was when my ligament snapped.
Of course I emailed to apologise and explain. I also asked if they had anyone technically able to get the file as I only have my mobile to use as I’m stuck downstairs! I’ve had no response, no reply. I feel dismissed and fed up. Excitement, what excitement?
Although I was not able to attend the Open day at a spode this weekend, I arranged to have one of my paintings Autumn Spring exhibited alongside other people’s artwork. I think it looks quite good. I was experimenting with an abstract idea in 2019 just before Covid arrived. The idea is a mixture of oblong and squares on the Autumn side, all jumbled and crammed together and is opposed to Spring which is more lyrical and fluid. Representing overwhelming waste and damage, and what we are doing to the Earth, and the renewal and regrowth that the Spring could bring.
My mural based on a ceramic design called Umbrella by Clarice Cliffe.
Stoke-on-Trent is a city built on Art and crafts. From Wedgwood and Brindley and the industrial revolution.
Ceramics were the main manufactured goods in the city. So much so that it became known as ‘the Potteries’. Different pottery owners experimenting with different materials, trying to make pots that could stand up to the quality of Chinese wares.
Manufacturers had water, clay and coal from the local area. Pots were transported out of the city on the newly built canals that linked it to the rest of England and then on to the world.
Designs were transfer printed onto plates and cups, opening up cheaper wares to the general public. But other work was hand painted and lined with gold and other precious metals.
What was needed to make all the pottery? Workers, making, turning, transfer printing, painting. Numerous jobs including the famous Saggar Makers bottom knocker. (You can Google this). The work couldn’t be completed without skilled labour that could translate designs into reality. Some female paintresses were allowed to sign their names to their work. Like Susie Cooper and Clarice Cliffe.
So much skill in one city. Burslem school of art taught many of the artists that were to work in the ceramic trades. One famous artist, Arthur Berry, became a fine artist and writer and play writer. He was one of my tutors at college. That’s why I love this place.
This came up in my Facebook memories and I thought I would share it as an example of something I can do other than painting on canvas. I hope you like this tortoiseshell kitty. X
A few views of where I set up to paint along side a family, gran, mother and daughter who were all painting. I really enjoyed the company. It’s good to be finally involved with other artists. We were at the top of the slope looking down at the Hall. Other people arrived and some went on to paint the lovely garden. I’ll post a few more photos later.