Showtime!

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.

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Anna studying the selection…

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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.

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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.

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

Back in the Woods…

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‘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.

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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:

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‘Woodscape #2’

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‘Woodscape #3’

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and ‘Woodscapes’ #5 (right) and #6

More Pears (Amongst the Tomatoes)

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‘White Pears #29’

oil on canvas/40″ x 30″/May 2017

Presenting the latest painting on/off the easel, another in the ongoing series featuring the remodelled and whitewashed pears as subject/object matter with this time, to return to another theme, seeing us once again under the visual influence of Edmund de Waal, arranging and obscuring some of the objects behind a sheet of semi-transparent tracing paper as others sit before this screening device.

As with the previous example, the larger scale canvas allows for a more expansive compositional approach.

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Appearing In Print

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A pleasant surprise on Friday evening as the new edition of our free local community ‘Essentials’ magazine arrived through the letterbox featuring an almost verbatim representation of an exploratory email I’d sent the editor a couple of weeks ago on the occasion of two of the ‘Woodscape’ paintings being selected for inclusion in the Wrexham Open 2017 art exhibition. Now here’s hoping there’s a bit more interest locally as a consequence.

Back Indoors…

Following the six months’ work on the ‘Woodscape’ series of paintings, a return to interior concerns and our old faithful whitewashed pears, the same as last year but, on this occasion at least, on a larger scale canvas and composed with a lot of contemplative ‘blank’ space, certain of Edmund de Waal‘s displays serving as the inspiration for such…

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‘White Pears #28’ oil on canvas/40″ x 30″/April 2017

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The Wrexham Open 2017 – a photo essay

Currently showing at the ‘Undegun’ gallery and studio space in Wrexham town centre, the Wrexham Open 2017 art exhibition, featuring a wide range of contemporary work by professional and amateur artists from the local area and beyond, including a couple of my recent ‘Woodscapes’ (#2 and #3) which I was fortunate to have selected (from a submission of three) for inclusion. For the first time in a few years, it’s good to see one’s work in the context of others’.

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The first sighting of my ‘Woodscapes’ #2 and #3 in context.

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‘Woodscapes’ #2 and #3

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‘Woodscape #3’ (2017)

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‘Woodscape #2’ (2016) (with close invigilation!)

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A particular favourite, Mark Folds’ ‘Nothing On’.

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‘Woodscape #6’ (finished)

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‘Woodscape #6’  oil on canvas/24″ x 48″/March – April 2017

Brought to some form of resolution on Saturday afternoon, the latest in the series of painterly representations of the experience of being present in the local ‘Maes y Pant’ woodland, with the habitual emphasis on the process of explicit mark-making (with a preponderance of horizontal and vertical brush strokes relating to the edges of the picture plane in best modernist fashion) in the service of realising a visually ‘haptic’ surface, the basis of the image content betraying an autumnally-captured source.

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