germinating an idea

Polytunnel 122x152cm oil on canvas

I have finally finished ‘Polytunnel’. A large canvas 122x152cm in oil.  This is the first of a new series of paintings, that I hope, will culminate in a solo show in a year or so.  I wanted to explore an outdoor/indoor theme and the garden or allotment, as subject matter is, so far, proving fruitful.  I have  just sent  this first painting off to The Doorway Gallery for Christmas . I am hoping to paint a few more large paintings before my next show, so I feel I can release this one for now.

 

I thought I would share a few words about this particular painting and to elaborate on some of processes that I used in creating it. 

I usually start out with a feeling of an idea that I muse over in my head, pondering whether it will be right for translating into a painting. Therefore, the seeds for this composition started to germinate this time last year.   In our polytunnel we always seems to have an abundance of very happy wild strawberry plants, that, and the odd cabbage. Here  I had my drawing material and conveniently undercover from the inclement weather, so  by early summer I had an outline of what I wanted to paint.

In studio working on final painting 

I had several versions that came and went, but I knew I wanted a centrally placed female figure either picking strawberries or harvesting fruit within the polytunnel with a dress based on my re-interpretation of the   William Morris’s Strawberry thief pattern.    I always work from my internal visual memory when it comes to the figures in my work, but I prefer to work from life for everything else, this is not always possible but either way the problem solving exercise to build up the composition takes many forms and references sources to get to the end point before I can start on the painting itself.  When It comes to painting I let the paint and colour lead and tell me how to proceed, as for me it is all about the tactile quality of the oil paint and the emotional response to colour, that is my main concern.  The illusional and story telling of the painting is for me its starting point and just a spring board to launch myself into the language and sensory magic of paint itself. 

Sources 2015

girl with doll  52x46cm

'Source' is  a small collection of pre-exhibition paintings, they were painted prior to working on my main collection that make up my new solo show Recent Paintings 2015 which will be opening on Thursday 7^th May at The Doorway Gallery, on Frederick St South, Dublin 2.

Head Scarf 20x15cm

 Last year, I had painted quite a few bright Russian textile inspired flower paintings that have been at The Doorway Gallery.  It   was while I was looking at this source material for my new solo show,  that I became intrigued with some late 19^th Century photographs of exiled Khans, nomadic textile traders and Russian peasant girls dressed in beautiful traditional Ikat coats and ceremonial robes.

   As a result I painted this series of small oil paintings, which I am going to exhibit during the show as they help to further understand, how and why, I paint what I paint.

Walking Home 25x20cm

Fox fur 25x20cm

Little Fruit Seller 25x20cm

Ikat girl 25x20cm

Matryoshka Turquoise Vase 71x61cm

Matryoshka Amaryllis 71x61cm

Framed

mitre cutter

It seems like ages now that I have been framing my paintings ready for my solo show in May this year.  My natural happy state is in my studio painting or planning a painting but preferably in the midst of a large colour- saturated composition that is demanding my full attention.  So I have to pull myself out of the paint screaming and kicking to focus on the framing and presentation that comes with exhibitions.  About 10 or more years ago I invested in some framing equipment so since then I have done all my own framing.   I was inspired to create my standard frame to date, from seeing a photograph of a  1913 Matisse exhibition where he had over-seen the framing and had chosen a simple limed-white frame instead of

Matisse's paintings from Morocco 1913

the ornate Baroque frames that I used to associate his work with.
  I try and keep as contemporary and simple as possible and I have kept the same frame more or less since I started making my own  ie a clean-edged slightly built up frame in limed wood or charcoal stained wood. 

paintings ready for show 2007

However this year I going to minimize the frame even more, by using a floating frame, ie a box frame with a slight gap between the canvas and the frame so that the canvas is emphasized rather than the frame. 

Baton-frame on The Invitation painting

Recent Paintings in workshop to be framed

I have been inspired to do this by a gallery owner in Amsterdam who is dealing with my work at the moment and who had a customer who wanted a very simple black baton around a painting she purchased.  I liked the way the simple frame intensified my colours even more and also highlighted the 2-Dimensional qualities of my work which under-pins my philosophy on painting.

Recent Paintings 2015 waiting for May

  So I have set my framing skills a task and it has been a learning curve, (polite way of saying I have been tearing my hair out) and very time-consuming but its all part of the process of producing paintings, so I am happy to do it.  But looking forward to a few weeks ahead when I can concentrate on some new painting ideas!!

 new floating frame Mount Usher Gardens from Tapestry collection 2011

Charity shops and painting

studio with new painting

 So today I have spent the third day in the studio on this composition, initially its a slow process working out how to start the painting and then I take each stage as it evolves and change and modulate my original plans to fit with each new development.

setting up my flowers for painting

  I make  working sketches that are short-hand visual aids for patterns,

etc this one is inspired by some beautiful dress material of my daughters, I must add it was inspired not copied as the original bears no resemblance whatsoever.  The vase was from a charity shop, as soon as I saw it I knew it would translate into paint,  and the copper tray was from a lovely interiors shop Ryle and Company that has now moved to Glencormac, Kilmacanogue. I have done 6 hours in the studio since this morning and my head hurts and I am painted out, must escape and get some fresh air!!

All painted out!!

Painting Heroes - Sir Matthew Smith 1879-1959

Matthew Smith Nude, Fitzroy st.  

I can never get enough of Matthew Smith's paintings, and his work is frustratingly under exposed, very rarely will I see a book or postcard or anything that gives this master colourist a mention.
It was way back in 1983 that I made my way over to the Barbican Centre in London to see his major retrospective and it was a wonderful experience and still lives with me today.  It is no surprise to me to find out that this painter spent a short while at the Matisse Art School in Paris, and was very influenced by the Fauvist and Post-Impressionists that were working in Paris before the First-World War.  This painting Nude, Fitroy St. No.1 1916, was obviously painted when he was back in London.

As can be seen by this landscape painted during his war years, how influenced he was by the Irish artist Roderic O'Connor who would have been living and painting in France at the same time that Smith was there.

Christmas Show at The Doorway Gallery

my flower paintings going up the stairs

My paintings in the hall at The Doorway Gallery

Deirdre, me and Denise

I dropped by The Doorway Gallery 24 South Frederick St, Dublin 2,
to have a glass of mulled wine and a few tasty mince-pies, and of course a look at their Christmas Show.  It looked so inviting and Christmassy and thats just the outside with wreaths of holly berries and pine cones bedecking the Georgian red front door and railings.  Denise and Deirdre have done a wonderful job of themeing the show by colour, so my paintings were teamed with Bob Lynn's and Karen Wilson's so as you can image they bounced off the wall and looked fantastic together.
I also loved Jock Nichol's small landscape and Christy Keeney's interiors.
Well worth a visit and there is lots more paintings downstairs.
The show goes on until January 30th 2014.

Christy Keeney

Jock Nichol

Ballymaloe and Camille Souter

Ballymaloe's Dining Room

I don’t want to sound all smug and conceited here, but recently I was whisked off to the utterly delectable  Ballymaloe Country House Hotel run by the Allen family, for what I feel was a much deserved and long-awaited break.  Yes and Ballymaloe is just ‘right’ in every way, it certainly ticks all my boxes and the food is just ‘simply delicious’. Long live the Allen dynasty.

What I didn’t prepare for though was the sheer delight of seeing so much modern Irish art on the walls, from the exquisite Louis LeBrocquy tapestries hanging in the entrance hall; the hard- edge abstracts of Cecil King and Patrick Scott, to the Michael Farrell’s self-searching prints decking the corridors.  Iconic names such as Nano Reid, Norah McGuiness, Jack Yeats, Mary Swanzy, adorn every alcove, nook and cranny.  This is a personal collection of great insight and empathy with that period of Irish Art history that starts with Nathanial Hone’s  pastoral scenes and ends with Elizabeth Cope’s eye popping red field with sheep.   This is such a strong and obviously much loved and cherished family collection and as a result a very cohesive and concise slice of important Irish art.

If I was to choose a favourite painting from this collection, it would be the understated Camille Souter that is hanging in the sitting room.   This painting is hung between the two large sash windows, a little ‘tongue in cheek’ I feel, as the painting itself depicts a large sash window filling the whole canvas, framing a view of a garden.   Like all Souter’s work it is tonally complex and subtly sophisticated.  I like to feel that she painted this while staying as a guest at Ballymaloe, all molly-coddled and sated, lying in white linen sheets with her hall-mark of a beret firmly placed on the side of her head, and the breakfast  tray with the remnants of a lightly poached egg , jugged kipper, and half- drunk third cup of tea, at her bare feet.   I imagine  her easel is set up conveniently  next to her bedside table and the sprigged floral sanderson curtains are drawn well back to reveal a soft grey-green sort of day, a heavy drizzle has set in, stopping Camille from flinging open the French doors.  She is putting the finishing touches to her Ballymaloe painting, that will be presented to the art loving member of the Allen family later on that day, and yes it is a  view from her bed –and why not, a sash window creates the perfect  framework in which  to suspend her tender brush strokes of abstracted form and delicate colour nuances, in a masterpiece of painterly perfection. 

Camille Souter  Washing by the Canal.

'Walled Garden' summer paintings 2012

cream tea 122x122cm oil on canvas

Walled garden summer collection now available and showing at The Doorway Gallery, Dublin  2 and The Russell Gallery , Putney, London.

It was during the Christmas break that I first conceived of the idea for this painting.  My two daughters back for the holiday and bonding over the kitchen table probably with laptops and coffee between them, where at either side of my long refectory-type table, and I was at the kitchen sink (no comment) looking across directly mid line.  I felt a painting coming on, and jotted down a few quick reminders to work through the idea more fully later.  I have used cream tea as subject matter before, back in 2005, where there were two cream tea still lifes in my solo show at Adam’s in St.Stephan’s Green, Dublin 2.  My aim, in this recent collection of summer paintings, was to make my interior scenes have an outdoor country feel, maybe some deep physiological need for summer during the short dark days of winter……. Crazy really ‘cos we still hav’nt had any decent summer weather yet and its July in a few days!  So I am thinking that in my case my paintings are definately a form of self-medication!

I suppose, in this painting more than in the rest of the ‘Walled Garden” collection, I have used a lot of different fabrics, and it is in these textiles that I have introduced most of the outdoor references.  These have been sourced mainly from 18th century textiles and decorative patterns.  If we think nowadays that we are innovative and edgy with our decorative arts, then think again as 300 years ago, it was as punky and wacky as it gets.  I think all our colour do’s and don’t’s must have happened relatively recently. I have never liked being told what not to do, so I have pheasants, butterflies, flowers and strawberry plants all vying for attention.  Even though I use colour defiantly and boldly go where no man has gone before,  I see them as all balanced and harmonious and to me impart a sense of calmness and well-being. 

18th century fabric book