Sometimes painting large feels like too much. I don't know why. I have painted large for the last few years. But now, it feels like too much. So, rather than not painting at all, I'm back to painting small, postcard sized. Some of these made me happy while painting, watching pigments mingling on the paper. One makes me very happy. But I have no idea how I achieved that effect! All on Hahnemuhle Cornwall paper.
Continuing with my Cill Rialaig series. Between sea and sky - that road twists as it plunges towards the ocean. I just love that particular spot. Worked on A2 Seawhite of Brighton heavyweight cartridge paper. Yes, it buckles, but I love how watercolour behaves on this paper, particularly granulating pigments. And I love exploring new ideas on large sheets of paper. Composition is not a top priority when I'm experimenting, but using my body to express emotions on the page is what I'm interested in.
Worked in direct watercolour, Artgraf tailor shapes, neo art and also scratched through the paint with various tools (had to be somewhat careful not to scratch through the paper, though.
I'm not at the stage where I can name these paintings yet. They're very much part of the exploration, but I am so happy to be painting again. It's really just about showing up, following what speaks to me, from day to day. And discover where it will lead me. And having no idea where that will be.
I love combining watercolour, oil pastel and soft pastel to create textures that surprise me. This one is inspired by a crop I did a few weeks ago, from a view across the bay from the road leading up Bolus Head from the Cill Rialaig artist village where I was lucky to work as part of my residency last year. Being neurodivergent, it sometimes takes a while for me to process the world. It's taken me over a year to come back to this location in my art. These things can't be rushed.
Had to try something different after the previous one didn't express what I had in mind. I reverted to quarter sheet and Fabriano Unica paper, for a gentler flow without jagged edges. I must try a few crops of this to see if there is anything interesting in it.
She's protecting us, with her weaving, building strong defenses. All these words are coming to me, bit by bit. Reminding me that tectonics, textiles and architect are all connected via their Proto-Indo-European root. Strong roots are important, no matter where you are.
Another painting inspired by the Beara Bowl.
This smaller piece evokes a different feeling, a softer one, less stone, more tall grasses, an inner spirit dancing in the morning, while no one is watching. Maybe she's invisible? I used the same base colours, but with different mixes. Lots more to explore
The light was so soft in that location on that particular morning. When I got to the other side of the hill, the sun was blazing and the feeling completely different. But that softness and peacefulness felt very special. Here's my first impression.
48x48cm. On Hahnemulhe Cornwall hot press paper. One done on front of paper. The other on reverse. I like both. The paint behaved differently, and I need to take note. This is still inspired by the same sliver of a big landscape, where rocks plunge into the Ocean near Allihies. Or rather where the rocks are pushed out of the Ocean. I must check if Stabilo Woodies are acid-free and permanent. Probably not. But they are so smooth and gliding.
I haven't painted painted in such a long time it feels. So I needed to ease myself into it. How do I do that? Take a full sheet of watercolour paper, tape it into 6 sections and paint the same scene over and over. Did it work out? Not really, but I got over the hang-up of "I haven't painted in so long that I'm not sure I remember how to". I spent less than 90 minutes on this. And I added the bridge cables with a white gel pen. Life is too short.
Next time, I will leave more whites in my sky.
When working through a daily challenge, I find it almost impossible to develop a theme. I need more time to think and explore. So, expect all sorts of crazy things showing up in my work for the next month.
Here, roots, inspired by a set of trees and mucky ground somewhere in Kenmare, in the West of Ireland. I had to do 4 versions to force myself to let the first layer dry a little before adding more. Used a little bit of rubbing alcohol for extra texture on two of them. Some of my darks got quite heavy. I have lifted them to give the trees more definition, but didn't get a chance to photograph them again, so you'll have to believe me!
How to push this further? By experimenting. They don't all work out.
It feels like I'm running out of time. Some quick watercolours to the rescue.
Really not ready for Direct Watercolor month this year. I'm rushing around too much. Someone called it the Go-Go Years.
So here is my effort for Pencils4tea celebrating Kirsty's Birthday on the 29th May
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Starting with something simple, as I've been travelling back and forth so much over the last month. I'm looking forward to settling down at home eventually!
