The following prints of my paintings are available as limited editions at the Saatchi Gallery Online. You can buy them – Here
Today’s paintings – a couple of very quick paintings on canvas at 20×16 inches, also two more works on 10×10 inch wood, adding to the Harris and Lewis series. There’s a definite palette and mood emerging – white, green, rust, black and blue…
The diffuse light effect is mostly gesso layers on top of dry paint – it’s usually used as a base, but it’s less opaque than titanium white and I’ve always liked the atmospheric effects, along with thick paint applied with palette knife and salt which gives gritty highlights.
I’m really tempted to publish one of Louise Palfreyman’s poems here to illustrate how well these all work together, but I’ll wait until I’ve edited the video, and Atzi Muramatsu has responded musically (though Louise might publish on her own blog – viewable Here)
I spent a couple of days editing the video of my paintings and Louise Palfreyman’s poems, which I find beautifully evocative of the landscape – capturing her visceral response whilst subtly touching on some of the ideas, context and history of Lewis and Harris.
Then I realised I wasn’t entirely happy with the paintings. Or to be more accurate, Atzi Muramatsu (the cellist we’re collaborating with on this project) came round to my flat to discuss music for the project, watched the first draft video then said he knew I could paint something more atmospheric. I thought so too – I’d got caught up in video editing when my focus is painting!
I’m still trying to capture the mood and feel of the landscape at this stage, experimenting with what works, things haven’t entirely fallen into place yet, so I was grateful for the reminder.
More paintings, poems, music and video to follow, in the next few weeks…
Today’s been quite productive and I can see the kernel of a series taking shape – the colours, shapes and brushwork. The series (which will include at least 20 small works on wood, and a series of 3 etchings) will follow the journey from Ullapool to Lewis then Harris.
These are an ok start. I think they’d work well as a block; a bit like a wall of tiles, where the sense of changing light and landscape can be seen as a pattern, which will take a bit longer to emerge…
The painting of a small boat seen at a distance in fading light (from the ferry to Stornaway) took several variations (images below) the first of which was best. I’ll work more on this tomorrow – the key is a very fast, instinctive paintwork and I was annoyed at myself for fussing and changing what I knew worked better in the first place!
I’m also playing around with the idea of luminous lines – an idea which began as imagining lines echoing the landscape in luminous night-glo tape and words for Louise’s poems.
Easy to think of, tricky to do! (the image on left shows the basic idea, though the reality would be smaller scale, tape affixed to fences etc).
Since we’re applying for the An Lanntair project which has a small budget, I’ll put this idea on ice for the moment, but it can be reflected in paintings and etchings, for example the lime-green line next to the Callanish stone in ‘Callanish 1’ above.
A bit more work on the painting of Coigach mountains from Achnahaird beach near Achiltibuie, I’m not sure if it’s improved or not! Here are previous version (below) which didn’t really get the Achiltibuie light effects which were very soft that day.
From next week I’ll be working on a series of twenty 5×5″ paintings on wood of Lewis and Harris..