Talking about Natural Dyes - Art + Fashion
STUDIO JOURNAL 8
From newsletter 27th March.
Vignette (study), 34.5 x 61cm. Botanical inks on gesso panel 2022
I’ve got some grreat news.
After a lengthy and meticulous application for an Arts Council Wales grant, I have now received an email saying that my application has been successful. Hurrah!!
The grant is to create a solo exhibition to be shown at Elysium Gallery in Swansea in 2023. It is a large space and I have lots of ideas. I plan to have two painting installations, one with 3-Dimensional work as well as individual paintings and diptychs. The grant will enable me to commission and collaborate with other creatives as well. For example, I’ll be able to get some professional photography of my work a video documenting my process and a sound commission for an installation. It is very exciting and lots of work to do.
More information about the project will be unveiled over time. The exact date is yet to be confirmed with the gallery, I really hope you will be able to come for the opening night or during opening hours of exhibition. It will of course also be documented online, for those who can’t make it.
Oak gall ink and gesso on paper.
I’ve made a start by making some small studies on gessoed paper, board and panel and although when I start working on a series I don’t look at anyone else’s work, I’m currently re-reading books ‘In Praise Of Painting’ by Ian MacKeever RA, ‘Agnes Martin’ by Frances Morris and Tiffany Bell, ‘Resistance & Persistence Selected Writings by Sean Scully. I’m thinking I’ll look out my book of Bridget Riley’s writings, she writes with such insight on her own work and of other artists’.
I’ve also been watching videos on Youtube of Brice Marden talking about his work. There’s such an incredible archive online.
Studio table
STUDIO JOURNAL 5
From 6th February 2022 newsletter.
I came across this quote/idea the other day on the word impossible, I thought I’d share it with you.
It changes it completely.
“Impossible” has a meaning that imposes huge limitations. But if we split it into two words, it changes that limitation into opportunity. One that we have power over because … I’m Possible.
Impossible Is Nothing.
Studio journal 2
What I saw in 1993 was an exhibition by American painter Robert Ryman. Known as the ‘painter of white paintings’, he is one of the foremost abstract artists of his generation. The influence that this one exhibition had was so profound it still resonates deeply today.
Every now and then I think about my journey, how I got to here, now, where I started, what the story is.
We all have a story, one unique to us.
I always have a story behind a particular piece of work or a series.
My first exposure to abstract modern art wasn’t until I was 17. Growing up in the Highlands of Scotland there wasn’t much. I went alone to the Inverness Museum once, determined to see some art – I saw a stuffed polecat, stags head and a dusty ptarmigan among other objects. It wasn’t what I was looking for, besides, I’d seen some in the wild.
Joan Eardley - Catterline in Winter (1963)
Mum had a poster of Joan Eardley’s Catterline In WInter 1963 on the wall. I would often stare at it, be in it, feel it.
It definitely helped kindle my love of bleak Northern landscapes, coast and falling snow, besides growing up in the foothills of the Cairngorm Mountains.
It's Funny How Oak Trees Look Pink In Snow No.2 (2018)
My school history of art lessons used B&W photocopies of... the Impressionists. Paintings which I subsequently learnt are huge, are all about colour, colour harmonies, brush marks, feeling, joy. Obviously none of these qualities came across in the photocopies.
My first Real exposure to modern art was at the Tate Gallery, now Tate Britain. Again, thanks to my mum, she took me down to London on an art trip just before my school exams. And thank goodness she did, for it sparked a drive that got me into one of our countries best art schools, Edinburgh College of Art.
I remember going around the National Gallery and the Tate. I remember at the end of our day at Tate peeking through a tiny window in a door, not unlike a medieval arrow slit. Straining to see as much as possible and begging my mum to pay for me to go in - the rest of the vast gallery was free to enter but this was a temporary touring exhibition and was typically expensive.
She did. Bless her.
What I saw in 1993 was an exhibition by American painter Robert Ryman. Known as the ‘painter of white paintings’, he is one of the foremost abstract artists of his generation. The influence that this one exhibition had was so profound it still resonates deeply today.
And he predominantly used white paint and little else!
