I’ve been creating a new page which I’ve called ‘Somerset Art Weeks 2014 collection’ as distinct from the Gallery page of previous paintings and drawings.
So far I’ve identified four themes I say ‘indentfied’ as if I’m making this fascinating study of someone else’s work, but the thing is, I get inspired by a subject, which usually leads me on to another one (often before I’ve got very far with the original one). Then, bingo, you look over the assembled stuff and you see how they group themselves together.
So far I have: field and meadow; house in the woods, animals and buildings. The titles are getting less poetic! Anyway they are to be found listed under the words Somerset Art Weeks 2014 collection on the black header bar.
Yes, it’s that headless chicken stage when you wonder what on earth you’ve been doing (or not doing) all year to have produced too little, too late – and is what you have done really worth hanging anyway?
Somerset Art Weeks start in under a month!!
I get my paintings out, chuck out the terrible ones, admire the best ones, then start looking at the big middling group. Then I find sketches I meant to work on, ideas I meant to develop, think of several new possibilities everyday. And all the while the long-suffering framer wants to know when Im going to STOP!
A walk on the Quantocks a few weeks ago generated a couple of pictures that were nowhere on my list of projects: we came across a group of Exmoor ponies when I actually had sketchbook and camera. ‘Summer ponies’ was the result:
And then I used a different range of colours to produce ‘Winter ponies’ in a swiftly done picture which sort of painted itself:
It’s great when that happens – and it’s also given me this year’s Christmas card.
Exmoor ponies are famous for their ‘mealy muzzle’, a paler area, and the same around the eyes.
More later on my SAW collection…
Having parted company with Chelsea, I next turned my attention to another commission: a lovely old converted building in Spaxton, on the Quantocks, sketched and photographed on a gorgoeus bright Autumn morning. The Challenge here was that the building was quite long, but with a fairly close wall, so a distant view wasn’t an option.
So I picked a spot where my customer often sat, looking over to the other end of the building. The sun streamed in at the windows, but a large tree conveniently provided a shadow on the left which stopped the eye, instead of feeling the building was cut off on that side. Well, that’s the theory anyway.
The typical Quantock red stone gave a rosy glow and enabled the use of some lovely purple shadows. The stony gravel was fun too – lots of splattering!