Subjects

New Painting: Up and Down South Stack Steps (Triptych)

Up-and-Down-South-Stack-Steps-Icon
Up and down South Stack Steps
Up and down South Stack Steps

This is my latest painting, which is entitled ‘Up and Down South Stack Steps’. It’s an imposing triptych painted in acrylics on 3 large cradled panels (see picture below for an idea of scale). It’s painted primarily from memory in an effort to recreate the experience of descending South Stack‘s 400 steps.

The panels represent stopping at various points down the steps, gazing up at the vertigo-inducing cliffs of Holy Island, then soaking up the beauty of the low sun burnishing the quicksilver sea, before clambering down to experience the thrilling sights and sounds of the roiling waves in the narrow channel between Holy Island and Ynys Lawd.

It was inspired (once again) by David Hockney’s theories on alternative approaches to monocular/photographic paintings with a single viewpoint. Each panel is intended to encourage the viewer to feel that they are able to look in multiple directions both within each panel, as well as between the three panels (which, hopefully explains the title being ‘Up and Down…’ rather than ‘Down and Up…’) The ultimate goal is to induce a slight feeling of vertigo, as if one has been tied to a ship’s mast.

I hope to submit it for inclusion in the Art for All competition in the Ucheldre Centre in Holyhead where it will be on sale for £1200 (EDIT: price adjusted after *ahem…* ‘advice’ from my wife…) The exhibition opens at 5pm Thursday 20th July and runs until 5th September so please drop in as there will be a wide range of work on display by a number of artists.

In the meantime, please see the image below for an idea of the scale of the work.

Up and Down South Stack Steps Scale

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More Pictures added to the Figures Gallery

Reclining-Male-Figure

The following life drawing class figure studies (and one worked up image) have been added to the Figures gallery. More figure studies are available on my Blog, although many of them are experiments, so please be warned that the quality is rather mixed and some of them are downright terrible…

Reclining Male Figure
Reclining Male Figure
Abstracted Figure
Abstracted Figure
Annabel
Annabel
Seated Figure
Seated Figure
Seated Male Figure
Seated Male Figure
Seated Figure in a Garden
Seated Figure in a Garden

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Diana and Actaeon: Spot the Pun Answer

Diana-and-Actaeon-Bone-Arrow-v

Diana and Actaeon Bone Arrow v2
Diana and Actaeon Spot the Pun Answer

In the original post I mentioned that there was a hidden pun in this painting and, that to solve it, it would be necessary to consider what a mighty hunter or the goddess of the hunt would need that’s in both of Titian’s versions but not in mine?

The answer? A Bow ‘n’ Arrow (bone arrow…) of course!

Please ‘like’ this post if you groaned or ‘share’ if you rolled your eyes! In the meantime, I’ll get my coat..

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New Linocut Reduction Print of a Cow

Reduction-Linocut-of-a-cow-

Cow Reduction Linocut cropped 2
Cow Reduction Linocut

This is a reduction linocut print I produced a few weeks back to test my new printing press. The process is also referred to as a ‘suicide print’ since additional linocut material is removed after printing each new colour, so it’s virtually impossible to recover from any mistakes.

This image was inspired by a new book called ‘Picasso Linocuts’ by Markus Müller (ISBN: 9783777439815) and by Picasso’s famous Bull series in which he worked to banish unnecessary detail from the image in order to distill the purest representation of the animal.

In the print above I was trying to sum up my impressions of the pure physicality of the cow and, especially, how such a huge bulk can be supported on such dainty legs.

As with most printmaking, ensuring the paper is registered in the same position when printing the different colours is essential, and you can see mine is very slightly off. I’ll try and post sequential photos or a video of the whole process the next time I attempt it.

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New Painting: Abstract South Stack Lighthouse

South-Stack-Lighthouse-Abstract

South Stack Lighthouse Abstract
South Stack Lighthouse Abstract (Acrylic on Canvas)

This is an attempt to try the Colour Field painting style of Mark Rothko and others. It’s actually a simplified landscape painting of South Stack Lighthouse, which is probably a contravention of the ‘subject/form free’ approach of the Abstract Expressionists. Incidentally, it’s also the first painting my wife has liked enough to put up in our house. That means I must be getting better, right?

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New Painting: Diana and Actaeon (Can you spot the pun?)

Diana-and-Actaeon

Diana and Actaeon
Diana and Actaeon (Acrylic on paper on board 92cm x 53cm)

This is my first attempt at a Mythology painting which contains a hidden pun! Can you spot it? Read on for a clue!

The painting is based on the classical tale of Diana and Actaeon, in which the great hunter, Actaeon, stumbles across Diana (who is, ironically, goddess of the hunt,) whilst she is bathing. In her ire, she transforms Actaeon into a stag, after which he is pursued and torn to pieces by his own hounds after they fail to recognise him.

The painting was developed from a sketch produced during an Island Art Group workshop conducted by the artist Iwan Lewis. During the workshop, Iwan presented us with an eclectic collection of objects (see image below) for inspiration, having asked us to read the passage on the Death of Actaeon from Ovid’s narrative poem Metamorphoses prior to the workshop.

Iwan Lewis IAG Workshop
Iwan Lewis IAG Workshop

I found this approach truly inspirational and, on being informed that, as well as being goddess of the hunt, Diana was also goddess of the moon, I was prompted to bring together such disparate influences as William Blake’s print of Nebuchadnezzar, Pablo Picasso’s linocuts of bull fights (in which the abstracted skeletons of the bull, horse and rider are clearly apparent), the change scene from the film American Werewolf in London, as well as Titian’s wonderful masterpieces.

At Iwan’s prompting, I also began to pay extra attention to the interesting negative space between forms, rather than just modelling the forms themselves. I tried to focus on creating a collage/assemblage of interlocking blocks of flat colour that can be viewed as separate entities in their own right, but which then ‘metamorphose’ into a coherent image.

I also tried to select suitable complementary colours which would create conflicting effects of the warm background ‘pushing forward’ against the cooler main figure trying to ‘recede’ in order to deliberately set up contradictions between the figure and the ground as per aspects we’ve been learning about in the MoMA course on Abstract Expression.

All in all, this was an absolutely fascinating project and I’d love to paint a large scale mural in this style!

For anyone that’s read this far and wants a hint to help find the pun, then you need to consider what does a mighty hunter or the goddess of the hunt need that’s in both of Titian’s versions but not in mine?

Did you get it? Please give me a ‘share’ or a ‘like’… (Luckily, I don’t think Facebook has got a ‘groan’ button yet!)

This painting is now available in the shop.

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Menai Bridge Abstract Painting

Menai-Bridge

Menai Bridge Abstract
Menai Bridge Abstract (Acrylic on Canvas 32cm x 40cm)

I’m now on week 4 of the Museum of Modern Art‘s course “In the Studio: Postwar Abstract Painting” hosted by Coursera in which students are encouraged to attempt paintings in the styles of Barnett Newman, Willem de Kooning and other artists from The New York School of Abstract Expressionists.

The course is presented by Corey D’Augustine who as an art conservator, technical art historian, and artist himself does a fantastic job of making the course interesting, informative and fun, even for an aspiring figurative artist like me who has always struggled to properly appreciate abstract art.

The course is free (unless you choose the option to earn a certificate) and is highly recommended.

Above is my attempt to investigate and apply Barnett Newman‘s techniques in my own work. Newmann, together with Mark Rothko and others, championed Colour Field painting (as opposed to the Action Painting of Jackson Pollock et al).

Newmann also developed what he called ‘zips’, or lines, running across the painting in an effort to subvert the perceptual concept of ‘figure and ground‘.

I’ve attempted to apply those techniques of colour fields and ‘zips’ in a landscape painting of Menai Bridge, albeit that the idea of a landscape may be at odds with the principles of Abstract Expressionism. I also stuck a piece of torn and painted corrugated cardboard on to represent one of the pillars as a play on the idea of figure-ground relationships in space and as a nod to Newman’s painting called ‘The Wild‘, which, bizarrely, is 243cm tall but just 4cm wide!

More resources and info relating to Barnett Newmann can be found at Artsy.net.

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