Exciting News! I will be doing a Facebook Live Sale on Monday 10th December at 6.30pm. I will have some of my prints, my boxed notecards and even some original paintings in the sale. I am offering a 25% reduction on the usual price and P&P is included. The sale will last until 6.30pm (uk time) on Tuesday. With plenty of time for posting before Christmas this could be your opportunity to grab a pre-Christmas bargain and give an unusual and original gift to someone special.
I have a selection of abstract and impressionistic landscape prints that will be included in this 24 Hour Sale. I will be selecting from the recent colour studies and including some of these along with two of my larger works on wooden cradled panel. Along with prints and originals both my new Abstract and the Flowers and Fields card sets are included as smaller gift options.
Message me on the day to reserve your choice and items will be allocated on a first come first served basis.
So, what is the point of buying an original piece of art? When you can probably get something much cheaper from (insert name of the home or furniture store of choice) and it can be changed as you update your paint colour.
I’d like to share a different perspective. Original art is not just for the investors. In fact I think the vast majority of original art is probably bought from established or up and coming artists like me and my fellow artists for tens or hundred of pounds, rather than thousands of pounds. Probably from small local galleries, local and regional art fairs, open studios and directly from the artists themselves.
What are you getting in buying a piece of original art? You have the opportunity to own something unique that is completely original. Not just that, in the creation of the piece the artist has had a relationship with that piece of work. They have applied the paint and materials or melted the metal, worked the clay, carved the wood, blown the glass. If you are buying directly from the artist you can often talk to them and find out about them. Learn what inspired them, hear the story of the creation of the work and even why the artist made the choices they did in the making. In owning the piece you are gifted with the unique experience of owning a creative representation of someone’s perspective on the world.
You can start small. Lots of artists will make their sketches or smaller works available for sale. These can be a great way to start your original art collection. For example I have done a couple of projects this year in support of my art practice one was the 100 Day Challenge where I did a small abstract collage a day. This inspired some small collage works on paper. The second was an exercise shared by Louise Fletcher which resulted in a whole host of small colour studies. These works are all available in my Etsy shop for under £40. You might also like to check out Alice Sheridan’s recent post on this topic, Alice has some good tips about how to decide what to buy.
Choosing a piece of original art allows us to connect with our own inspiration and the things that move us. We have the chance own original work that appeals to us deeply. Sometimes we will not know why we like something just that there is something about it that appeals to us. We may not even be able to put it into words. I think these kind of experiences are worth having. To sit in front of a piece of art that brings you pleasure year after year, to be moved and inspired.
How did you begin collecting original art? What was your first piece? Do you still love it? I’d love to hear your experiences.
I’m delighted to be exhibiting at the newly renovated Octagon Hall in the Artist and Designer Fair on Saturday and Sunday 20th and 21st October, 10am til 4.30pm. An elegant and spacious venue, the Octagon Hall has room for upwards of 30 exhibitors. Exhibitions include art, jewellery, furniture, glassware and other designer led products. The renovations on the the Octagon Hall, part of the Pavilion Gardens, were completed earlier this month. It’s a stunning venue situated in 23 acres of award-winning Victorian Gardens where you can take a gentle stroll amongst the autumn leaves and then rest, relax and recruit your energies with something to eat and drink in one of numerous cafes and tea rooms.
I will have a selection of new work with me completed in the last few weeks, where I have been continuing to explore colour and form in abstraction. My work and inspiration is about the archaeology of place and experience.
As the end of October approaches I’m thinking about something for the early Christmas shoppers so I will have a selection of smaller works, prints and my quality boxed notecards available, as these items make unique and individual Christmas presents.
The weather forecast is good with sunshine predicted on Saturday, so why not drop in and take a look around. I’d love to chat to you about my work, workshops and coaching.
This post is to introduce my new Colour, Collage and Texture Workshop which i am excited to be running next year. This workshop is all about painting abstractly and using colour, collage and texture in the work to create impact.
It is a follow on session to my introductory session into Abstract Painting. For people who have attended that day this new workshop builds on the material learnt in that session. If you are already painting abstractly then this session can help you bring further refinement to your work and develop the impact of what you are painting.
The focus of the day is two fold. To demonstrate and teach a range of techniques using texture and collage that can be incorporated into abstract work. To look at some of the main ideas in colour theory and then to think about how to use those ideas to create more impact in your work.
Specifically, we will take a look at how to use colour through value as well as ideas about colour harmony and working with complementary colour. I will go over the principles of the colour wheel and some basics in colour theory. We will spend some time on colour mixing exercises to help you understand the various properties of colour and how to use it effectively in your work. We will also look at a range of techniques to build texture into your work along with how to make your own collage papers.
The day is at the Old House Studio outside Glossop in a beautiful location overlooking the Pennine Way. There is a well equipped purpose-built studio with space for up to eight people.
I have been teaching adults for over 20 years in various capacities.
My teaching style is relaxed and informal and I teach from a place of facilitating you to find your own style of working. I will demonstrate the techniques and work on my own painting during the session so that you can observe my application of the ideas taught. There is also lots of time for one to one input and coaching during the day. If this sounds like something that might be of interest then book your place by using the form below.
We’ll be spending the day together at a lovely venue, The Old House Studio in the middle of open countryside about 3 miles from Glossop.
We will begin with some simple ideas about how to compose abstract paintings, as well as spending half an hour looking at abstract work to get some ideas of why these works are successful.
To loosen up and get us in touch with landscape we will then spend an hour or two sketching and painting outside. The Old House Studio is ideally situated for this as it is overlooking part of the Pennine Way with stunning views up and down the valley. There is a useful terrace outside the main studio where we can assemble with all our gear, making it easy for us to paint outside without having to carry lots of materials with us. The sketches will form a loose reference point for the paintings we will then go on to make. We my even use some of the sketches later as collage materials if that is the direction the work takes.
Having connected to the scenes around us, we will move to beginning our final paintings. For these we will be using wood panels as it allows us greater scope for creating surface texture.
We begin on a gessoed panel with intuitive play. Laying down paint in a free and spontaneous fashion to both cover the surface and provide an initial jumping off point into a more finished composition.
Finished with play, we will begin to bring intention into the composition creating landscape forms and shapes. I will be demonstrating how I make decisions in my painting and sharing my thinking with you.
Along the way I will demonstrate various techniques including how to use oil pastel, line, scratching, sanding and scraping paint, collage.
The workshop is for people with some previous experience of painting but this is not essential, and absolute beginners are welcome.
With a few places left, if you are interested then please use the contact form below.
I’ve been putting together my new programme of workshops for 2016 and as a result thinking about some of the comments people have made to me at times. When I talk about painting I so often hear a response that goes something like – “Oh, I’d love to, but I can’t draw”, or “Someone told me I can’t draw/paint” etc. Often said with a strong sense of regret.
Unfortunately it seems that there are quite few people have had some kind of negative experience when growing up around artistic or creative expression. Either that, or that art is not the kind of thing that’s worthwhile or that you can earn a living at. Even without this kind of interaction people do seem create their own inner critic who sits on their shoulder (metaphorically) getting in the way of them being creative.
As a personal development professional and an artist I am interested in helping people step around this and connect with their inner creativity to express themselves in the ways they want and to be satisfied with their work. So all my workshops pay attention not only to the techniques of working with the medium in question, whether it’s acrylic or oils, but also to the conversation we might be having with ourselves while we are working. I’m looking to help the person begin to identify if some of their thinking might be getting in their way of their creativity.
And along the way we’ll be having some fun and Play with Paint! Interested? Call me to find out more 07985 936393 about workshops or coaching.
I’m exhibiting at the Horsforth Walk of Art this year on the 4th and 5th of July. I like these type of open arts events, they attract a lot of people who like to paint, draw and craft themselves. I get to meet people who want to find out about the work and who are often interested in trying the techniques for themselves. So, I thought in the run up I’ll do a weekly post where I will share one of the techniques I use, a tip about how to make use of a material, something I find useful in my painting or possibly a resource that I’ve found interesting or inspiring.
If you want to be sure to receive each weekly post then make sure you sign up either to my blog, and if you have a technique or tip that you’d like to share then post a comment.
The first signs of autumn are here. Leaves starting to turn, end of the blackberries, a cool crisp chill in the air first thing in the morning, misty days like today. I love the autumn colour, although its also tinged with a touch of wistfulness for me as well. The close of the summer, no more endlessly hot, bright days for a few months. I always think that the glorious colours of autumn are natures last gasp of majesty before everything goes to sleep for the winter months. So, I’ve been capturing some of the early signs on my morning walks. The hawthorn, the rose hips, teasels, grasses and flowers going to seed and I’m beginning to think about autumn colour – burnt sienna, cadmium red, alizarin crimson, indigo and purple.
I put up a post a few days ago about working with triads of colour. I said I was looking forward to trying out the principles with acrylic paint to see what that might be like and it’s been great fun.
I have found painting the landscape in the Peak District to be an interesting challenge. Moorland can be pretty bleak and uncompromising and although this is contrasted with some lovely rolling green hills interspersed with rocks, trees, and dry stone walls, the composition and use of colour becomes more important, otherwise I find I can end up with a just a very green painting. I think this is one of those times when, because I’m not painting something that is particularly beautiful of itself, unlike the Isles of Scilly for example, it can become beautiful through the expression of the artist. There is a wildness and bleakness that I do find appealing and compelling, but that doesn’t make it something that in my view works as a painting, so the challenge is how convey something of the bleakness and the wild openness in a way that is visually attractive.
Scotch Pines at Longshaw
The chance to play around with some colour seemed to fit well with this, and here are my first couple of attempts. The first painting is of scotch pines in the grounds up at Longshaw. This was from a walk on a lovely bright winter’s day. I was particularly struck by the deep shadows in the foreground and the light in the distance. The walk we did on this day took us through Grindleford and Padley Gorge where I took lots more snaps to work on back in the studio. Longshaw is a National Trust property between Sheffield and Hathersage.
Snow on Stanage
The next couple of paintings are both around Stanage, one of the many grit stone edges that can be found in this area. From the tops the moors stretch out before you into the far distance and all there is to see is mile after mile of rolling heather, bracken and grass moving in the breeze. Here’s something from a day with the heather in bloom and another when there was snow on the ground.
I’m not a great fan of watercolour, always found them a bit wishy washy and I’ve never felt that confident using them either, too delicate I suppose. I’ve used them for rough sketching and playing about but nothing much else. However, I recently discovered a great book, Art Escapes by Dory Kanter an American watercolorist and I’m inspired! Here’s Dory’s website to have a look at her work. http://www.artworldtours.com/
The book is about keeping an artistic journal, and in it there are some lovely ideas and really great exercises to do as part of a process of doing something creative every day. Which is my latest thing by the way, being creative every day – but more on that in my next post.
Derbyshire Open Arts
What I’ve found most useful is her ideas on working with triads of colour. Now, I tend to work with a limited palette anyway, but her approach was new and I’ve been having great fun. I’ve started with some little water colour paintings that I’ve made into cards, (they will be on sale at Derbyshire Open Arts this weekend) and I’m feeling like they will lead on to bigger things; maybe some larger watercolours. I’m also really excited about how I might take this idea of working with triads and use the principle with oils and acrylic, now that could be really interesting.