Art and Football


‘Slavia Praha shirt’  pencil and watercolour/36 x 25cm

The challenge of the representation of drapery is, of course, as old as painting itself, and a recently-acquired football shirt suggested itself as being a suitable subject-object of study one afternoon last week, so out came the pencils and watercolours. Whilst the particular qualities of the contemporary somewhat shiny-surfaced sportswear fabric were perhaps the main motivating factor in getting to work in the active observation of, the allure of a jersey bearing a red star, particularly in the context of such a pleasing design, cannot be denied a certain significance too.



Three Pears


‘Three Pears with Geometric Shape’  oil on canvas/20″ x 16″

On a recent grocery shop, Anna picked up this trio of pears and then, once home, deposited them on a shelf in the conservatory/studio. A quick reorganisation and they were in place and ready to be actively contemplated and the findings represented on canvas. A brief ray of sunlight observed one morning before the day’s painting process began suggested the geometrical shape thus projected might be incorporated into the composition and thus it came to pass, as an additional element to the familiar and habitual.

As ever, one’s mind turns to the various pears painted by Euan Uglow, particularly with these objects displaying a combination of yellow and red skins as did examples studied by the master.

Yellow Submarine


‘Yellow Submarine #2’ oil on canvas/20″ x 16″

Whatever it is about the back end of August, but last year I was minded to make a small oil study of the household’s ‘yellow submarine’ tea infuser at that particular time and this year I’ve been similarly tempted, so here it is, this time amidst a blue ground.

Bowling Along…

Recently, Mrs Rowley introduced me to the practice of making objects with homemade ‘cold porcelain’ air-drying clay, with the resulting pair of small bowls, modelled within a couple of measuring cups, pictured below.


Given the history of my monochrome ‘white pears’ paintings, and the continuing fascination of looking at such objects, it seemed appropriate to represent the creamy-coloured cold porcelain bowls against the familiar white ground also, taking on the challenge of trying to capture the subtleties of colour and hue as they appeared in the context of the fluctuating natural light, the painting marks analogous to the finger-and-thumb-formed bowls.


‘Cold Porcelain Bowls’  oil on canvas/16″ x 12″/August 2017

Also today: a most interesting article by Jonathan Jones on the Guardian website relating to the exhibition of Cézanne’s portraits at the Musée d’Orsay and upcoming at the NPG.

July, a Not-Quite Fruitless Month…

July, although without day job commitments (an academic term-time contract means regular breaks and a nice long summer recess, of course), also seems to have passed without a great deal of painting being done, although a little has been processed.

By way of context, I must admit here to being a long-time admirer of the work of Euan Uglow and his commitment to a particular way of looking at and recording the visual world. Having invested-in the essential ‘Complete Paintings’ some years ago and frequently studied its contents since, I’d always had a certain fondness for Uglow’s representation of a Homepride ‘Fred the flour man’ figure, a familiar advertising icon remembered from childhood and youth.


Euan Uglow ‘Flour Man’ 1972-4

It transpires that Fred figures, smiling and friendly in appearance even with those ‘Clockwork Orange’ bowler hat cultural associations of a similar vintage, were manufactured for commercial purposes in a number of forms, some of such functional value to the baking process as flour sifters, water vessels, etc, and encountering a couple of these objects during a recent potter around a local antiques/vintage emporium presented the opportunity, too tempting to pass up with such art historical associations as they possess to those of us in the know, to invest in as potential grist to the painting mill.

Soon, the newly-homed pair of ‘Freds’ were in position, upon and against a ground of cardboard not unlike that of the Uglow painting in hue and tone, to pose for a pencil sketch that evolved into a rudimentary watercolour study of the form and reflective properties of (the surface appearance of) the plastic figures.


‘Flour men figures’ watercolour/30 x 21cm (sheet size)/July 2017

Thus completed, the progression into oil on canvas became the next stage of investigation into, as reportedly piqued the interest of Uglow, the challenge of depicting plastic, in this instance not one but two kinds, the larger object on the left having a more reflective surface quality than the more ‘silk-matt’ one to the right, with the result, more thinly and finely painted than the more physically textured technique applied to the ‘white pears’ and ‘woodscapes’ of the past year, presented below: an enjoyable challenge.


‘Mr Uglow and Me’ oil on canvas/20″ x 16″/July 2017


‘Mr Uglow and Me’ in context with the model figures, as the painting set-up.


Saturday evening and, as one of the selected exhibiting artists, the opportunity to attend the Private View and opening of the North Wales Open 2017 at Theatr Clwyd in Mold, our regular cinema-going and theatrical venue, augmented by a programme of visual art and design displays, where many a fine and entertaining evening has been spent.

Despite having made a point of seeing the NWO or its predecessor prior to local government reorganisation the Clwyd Open many years over the last 30+ and previously exhibiting at Theatr Clwyd as an invitee of the ‘Group 75’ show in 2001, this was actually the first time I’d entered work (up to two pieces per individual) for consideration for selection, and was gratified not to hear news that I’d not got both in, as per the judging process (!), building up some momentum after the Wrexham Open success of April. Rather than rest on the old laurels and rely on those tried-and-tested, I decided to submit another of the ‘woodscapes’ (#5) and, for variety but possibly taking a risk in presenting two distinct aspects of painterly activity, one of the recent larger-scale ‘White Pears’ compositions (#29).

Anyway, suitably uninformed, Anna and I made our way to the venue where it was pleasing to see and be part of a well-attended event, lots of milling, viewing and relaxed chat in evidence and a wide variety of art, traditional and modern as they say, the work of professional and amateur practitioners alike, some familiar names, on show.



Anna studying the selection…




With the focus towards the personal, here follows a small group of spectators before ‘Woodscape #5’, the painting in its immediate context and in isolation and then ‘White Pears #29’ in the company of other still life compositions (paintings and a collagraph) and on its own – both paintings were favourably hung, in nice central, well-lit locations in the main and Community galleries, it must be said, so we’ve done very well out of the experience.






The North Wales Open continues at Theatr Clwyd until 25th August.

New Paint Jobs…

The following set of images represents the evidence of a recent bout of re-painting of previous work, the first time I’ve ever really engaged in such an endeavour but which, upon daily encounter with said objects, was deemed necessary in the light of subsequent developments.

Having recently returned to the subject/object matter of the whitewashed model pears as the field of painting practice, in the form the larger-scale compositions #28 and #29 which succeeded the departure of the series of six ‘Woodscapes’, those ‘White Pear’ works numbered #21 – #27, processed during February – April of last year, came to seem to be too dark in terms of the tone of their grounds, for whatever reason they had originally been (erroneously) rendered thus when painted from life and empirical observation. The earlier time of year, with its own particular natural light conditions, hardly seems to explain just how ‘wrong’ the paintings, and the contrasts between figures and grounds, appeared.

Thus, and in keeping with recent developments, have the grounds against which the objects appear been re-painted, as ever from direct observation transferred to canvas, comparatively significantly lighter in parts and less so in others, with adjustments also to the whitewashed pears as necessary, with the evidence presented below.

‘White Pears #21’ (2016/17) oil on canvas/20″ x 16″
original ‘White Pears #21’ (2016)
‘White Pears #22’ (2016/17) oil on canvas/20″ x 16″
original ‘White Pears #22’ (2016)
‘White Pears #23’ (2016/17) oil on canvas/20″ x 16″
original ‘White Pears #23’ (2016)
‘White Pears #24’ (2016/17) oil on canvas/16″ x 20″
original ‘White Pears #24’ (2016)
‘White Pears #25’ (2016/17) oil on canvas/20″ x 16″
original ‘White Pears #25’ (2016)
‘White Pears #26’ (2016/17) oil on canvas/20″ x 16″
original ‘White Pears #26’ (2016)
‘White Pears #27’ (2016/17) oil on canvas/20″ x 16″
original ‘White Pears #27’ (2016)

Back in the Woods…


‘Woodscape #7’

oil on canvas/20″ x 16″/May 2017

Following the brief return to the two most-recent white pears compositions, whilst simultaneously percolating the idea, this painting sees a continuation of the autumn/winter ‘woodscapes’ project, this time on a smaller scale than the previous ‘cinematic’ canvases that originally explored the subject matter and more physical painting technique, the impetus provided by a request from the Gresford and District Community Library for a donation to their upcoming (8th July) fund-raising Summer Fair auction.

As with the larger canvases, the emphasis is again on the materiality of the paint used to convey the embodied experience of being present within the woods and the (over-)abundance of information one is subjected to.







Another Exhibition

Saturday morning and the opportunity to accept a most generous invitation by MyPAG (the good people of the Maes y Pant Action Group) to exhibit my recent series of paintings representing aspects of that very woodland at their annual plant sale and coffee morning, to which we donated some of our proliferation of tomato seedlings and treated ourselves to a young raspberry plant. Also donated to this very good cause and community resource, after deliberation by Trevor, Sue and Andrew, was ‘Woodscape #1’.

Here, resting nice and informally by still life table top arrangements (a pleasing juxtaposition, given the other strand of my painting practice, of course), are pictured:


‘Woodscape #2’


‘Woodscape #3’


and ‘Woodscapes’ #5 (right) and #6