Hawthorn

Hawthorn, Oil on canvas, 24 x 20 inches

Hawthorn, Oil on Canvas, 20 x 24 inches

Painted on Hampstead Heath last Sunday, with  the City in the background.

The Importance of a Path

Country Lane, Suffolk, Oil on Canvas, 19 x 12 inches

I have a vague memory of reading a story in which the narrator stays in a guest house or at a friend’s country home and sees a picture on the wall. The picture fascinates him because it has a path in it, and he imagines walking down that path – and so the story kicks off… What happens afterwards, I don’t remember – and I don’t remember anything else about the story – neither the author, nor the title. So that’s not very helpful…

However, I’ve always thought a path was a useful thing to have in a landscape. Monet, Pisarro, Sisley, they’re all very keen on them. It draws the viewer in imaginatively. It’s also nice to have a mysterious figure in the middle distance.

Orford quay, Oil on canvas, 20 x 12 inches, SOLD

Orford Quay (Suffolk), Oil on Canvas, 14 x 23 inches

Terracotta

Terracotta figures, Oil on Canvas, 31 x 40 inches

For some time now I’ve been going to a sculpture class every Wednesday evening at Heatherley’s School of Art (tutored by Gil Whyman). I’ve done so many of these terracotta figures that they’re taking over my house. The terracotta is bright orange when fired, which bothers me a bit, but I thought it might work in a painting. I like their bored/bemused expressions and the languid poses. I placed the water bottles under the counter to complement the orange colour. They were empty, and I had to fill them up to get the right blue.

 

Painting and Drawing

Lucy, Oil on Canvas, 52 x 40 inches

There is often an assumption that paintings are the result of preparatory sketches. I can see the logic, but it’s never worked that way for me. Drawing has always been an end in itself. Drawing does however sometimes lead coincidentally to painting, as in this case. First, I did the drawing below. When the model had a break she put on this colourful dressing-gown and that’s how I got the idea for the painting.

I did the drawing below. When the model had a break she put on this colourful dressing-gown and that’s how I got the idea for the painting.

I like these contemplative poses especially of women, looking down. Not sure why.

Lucy, Charcoal on Paper, 39 x 44 inches

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