Inspiration and a confession - the jot-wall

Just having a think about my sources of inspiration (as someone has asked me recently).....hmmm, where to start? Inspiration for me, I realise,  is more or less everywhere. There is no shortage of ideas, there is always a shortage of time!

An artist friend of mine and I had a hilarious five minutes drawing a mental cartoon of all the ideas that are stacked up in our heads. We saw them all forming a long queue - one that swings from orderly to disorderly to rioting, attention-seeking misery! Think about the idea which has been there the longest and keeps getting parked - "what about me?", it wails, "you promised you'd action me in 1992!". We placate them all and promise them liberation in the murky future. 

Here are three tiny(5x7cm) monotypes waiting patiently to get turned into paintings 

Laughter aside it did make me think. How do I prioritise ideas? Are there recurring themes to discover? (yes, more later) I don't over-analyze what I do, but there are questions that I ask myself all the time:
does it work? if not why not?
what did I learn? 
what don't I like?
what do I like?
where is this leading me?
what do I want to keep?
what shall I drop?
what is doing this?
what do I want to pursue?
why did I do that?
what has ruined it?
is this a happy accident?
what shall I do next?
what shall I do different?
what can I try next?
can I be patient enough to get through this period of nothing happening until something sparks off again?
nah, shall we just let this one go?
what do I need to get better at?

It's not a pedantic list, more an instinctive mind scan......and in my head is a lattice-like, interconnecting grid of all of my ideas. Some are shinier than others (Is this a mind palace?  -  Sherlock?)

It's non-stop really ....so maybe I do over-analyze after all! But it has given me an insight as to why, CONFESSION......... I rarely use a sketch-book. (A tremblingly terrible confession for an artist; it's tantamount to saying out loud that you are not a real artist and can never be taken seriously) Even at art school I didn't, I had to make one up to get through the end of year critiques. It didn't come naturally AT ALL, because my sketch book is in my head. And I don't really like working in books. There, I've said it. 

In my studio you will see the occasional scrap of paper pinned to a wall documenting an idea that I don't want to forget, but it is more likely to be in written form than in drawing form. It's more like a jot-wall, which suits me better.  Here is the current state of my jot-wall.

I have looked on in envy at amazing sketch-books, tried my best to start them at various times - it never works. But I don't rule it out. I have only just become interested in gardening, - who knew! -  so I may well take to working in sketch-books sometime in the future too!

I have recurring themes, it's true.  But somehow, these are private, perhaps the viewer's to discern. Perhaps best not written about after all. 

I love the sound of cutting glass

Its a unique sound as you pull the tungsten carbide wheel over the glass..... you can hear the molecules re-arranging themselves (well, that's what it sounds like to me) as they all line up ready to break apart with the slightest encouragement. How does it work? I know the science behind it, but it still is a pretty mysterious thing to witness.

Recently I have been working on a large mosaic commission made entirely of glass. It has been a great experience. I have become much more intrigued with glass as a medium. 

Here is the start of one of the panels. 

Like most art forms once you delve into it there is a wealth of history, skill, tradition and innovation attached to it. 


I have always wanted to learn stained glass techniques. When I do I will let you know! Here is the Matisse's work in Chapelle du Rosaire de Vence, so simple, so beautiful.

And here is John Piper's work at Coventry Cathedral

There is something so awe-inspiring about light coming through glass. Religious or not, I suspect it affects everyone in a similar way - perhaps tapping into the age-old thrill of seeing a rainbow? (still gets me every time).

I have just been practicing cutting curved lines and will definitely incorporate some hand cut glass into my next mosaic project.

Here is a great short video on how to cut glass


how to cut glass

Abstract Notepads

I have been working on a series of abstract paintings. In a way they are notepads for further work. I have tried to summon the colours and textures of experiences and convey them through these acrylic paintings on board.

They are a kind of visual diary, notes on the theme of.....I think it will be very interesting to pursue one of these themes in more detail. Painting on board has a distinctive quality, I am keeping these flat, graphic in nature. I found interestingly that I have slowed down and become quite contemplative painting these.

Winter Trees and short film of David Hockney

In spite of the strange seasonal weather - (our cherry tree blossomed early February!) - the winter trees have been very beautiful.

Here is a selection of my small studies of winter trees they are part of collection which I hope to exhibit in April.......and below that a link to a great short film of David Hockney painting trees in winter 2012

I never tire of looking at trees!

Short film of David Hockney painting winter trees 

Monotypes - a magical mix of planning and spontaneity

I am about to embark on a series of monotype prints for my exhibition. I love this medium. I use Rhenalon plates and caligo safewash inks or Akua Speedball inks - they give differing effects depending on how you apply them and the paper you use - t here is a lot of experimentation needed.
I enjoy mixing inks on the roller, wiping ink away and scratching into the ink on the plate. With careful registration you can build up layers too. Here is an example

LAST LIGHT OF THE DAY 

I have used pieces of paper to mask areas of the plate here.

There is a magical mix of planning and spontaneity with monotype printmaking.

Smudging  the ink around can give atmospheric effects

BUDDHA BY THE POND

Using roller, brush and even fingers to apply ink and wiping ink from the plate with toothpicks, cotton buds, and cloth the gives great variety of marks

BLUSTERY DAY

Its a good idea to sit down and think about what you are trying to achieve before you start - what layers need to go down first - how are you going to blend or mask colours etc. It can save a lot of paper! 
Once you have pulled that first print have a careful look at the plate before you wash it all away - sometimes the ghost print (printing what's left of the ink on the plate) can be very interesting and form the basis of a mixed media piece - adding drawing, collage paint/ink to the print.

Abstract passion - "Each painting paves the way for the next painting" (Robert Wilson)

Hello
Its been a while since I posted but I have been busy working towards an exhibition in March and an exciting project which I am hoping will come off. My work has taken an abstract turn the last few months - and I have  been really enjoying this. I can see the tree studies I have been doing feeding into this work. "Each painting paves the way for the next painting" a quote from the video (link below)

Here is  a large painting recently completed as yet untitled.

At the end of this post is a link to a short filmed interview with Robert Wilson- worth a look if you only listen to the first 30 seconds! 


Here are a few more

 
I am trying to respond to basic mark making and my love of colour and not let anything else interfere - which is harder than it looks. I wonder how many images are stored on the hard drive of my brain - a staggering number I should think. Consider how many films where you can remember exactly what happens next, or the story line - that means that your brain has stored all those individual frames somewhere - let alone the images from every day of your life! Well these images from the semi and subconscious mind filter through and in my case often try to turn the painting figurative. I have to catch them "No, I don't want to make it look like a tree this time!" 

Click here for the Robert Wilson Interview 

Simple Pleasures - Drawing with Crayons

Recently I have rediscovered the simple pleasure of drawing with crayons......here are a few of my little tree studies (up to about 45 now).....

In fact it was earlier in the year when I did some drawings based on photographs I remembered how much I enjoyed it - though it is definitely a particular mind state -  the combination of really careful observation, focused attention, shutting out everything else - being able to rub out (phew!) and all those yummy colours in my crayon tin! Heaven.

 Small Feather, Blue Stones

It brought back so many memories ranging from story-board "snowman" type cartoons I did on my graphic design course to copying by sight and colouring endless Disney characters when I was about eight years old.  I have a vivid memory of being really pleased with my Lady and the Tramp dogs! Then I remembered an entire set of characters I drew as the basis of a book when I was about twelve......

I took my kids to the Derwent Pencil Museum in Keswick when they were younger - a museum all about pencils and crayons - with history dating back to 1500. It was very interesting even for those not in love with all those tins and colours. I was treated to a luxury set of 72 colours - and now I am really beginning to appreciate them.
Unfortunately they seem to have been affected by the recent bad flooding in Cumbria and are closed for refurbishment but I am hopeful you can still buy online.
Here is the link