I still have so much to learn with oil paint, I’m considering some YouTube tutorial afternoons. It’s a different game with watercolour, a material that does prodominently what I want when I want, the only thing that’s lacking it perhaps depth, on paper, characters and form are often held in the space if the page. Where as when I paint in board or canvas, I make the canvas or board just less visible. I actually kinda hate canvas, I don’t enjoy seeing it as part of the shape or surface of my work, I like there to be a lot of paint, which can sometimes prohibiting and I need to move around that.
2019 has been alarmingly positive, which is actually strangely uncomfortable. It just takes more practice than I have had to make positive choices and get positive results.
Which maybe why I spent many evenings painting the fleshy ring shapes and going over 3 abandoned drawings and adding colour.
Love it or hate it it’s here!
There’s so many reasons this time of year is difficult. Check in your strong friends. Make plans with people and do activities that make you feel wholesome.
Make exit plans.
Artists Ben Bell & Dan Bown created an exhibition in Studio 20, the private view was well attended as was the exhibition and happening the next day. They organised a group painting session, like musical chairs but less energetic. Of the painters in attendance 3 have exhibited with Imprudent Collective.
Long long ago I had a space in an open plan studio, I don’t think i made anything in there, it never felt comfortable. Turned out I have huge anxiety around making in front of other people, it’s almost as bad as being asked to read something aloud I’ve never read before. CRINGE. I see our city dotted with the talented open-air painters and I’m always blown away by how they do it, not the practicality of it, but taking up space and being seen?/Vulnerable? nope, not for me, I reckon I’d get s*at on by a massive gull or I’d pack up if random blokes (# not all men) tried to talk at me while I painted. 5 different types of nope.
I got well out of my comfort zone then found it again with teeth. It was great to be a guest, it wasn’t my exhibition soi didn’t have the organiser head-on- except definitely got restless and wanted to move on perhaps more quickly than anyone else. I’t was strange, to paint around and possibly over someone else’s marks, while we all sat around a table in the middle of an exhibition, listening to chilled out tunes and chatting about the power of getting out and seeing people for the maintenance of wellbeing.
10/10 would do again.
Here is something I’m so proud to be part of.
Thank you to everyone so far who has shared and filled in this form, Im going to extend the deadline past the 24th August and keep it open for longer because this information, your experiences and voice is important and it will be incredibly valuable to the delivery of this service if the bid is successful and what happens after that.
Just click this link to fill in the form. I have been told it’s easier if you access it on anything other than Apple products like iPhones and iPads.
here is the link one last time
There is a video in the questionaire explaining what this is for and I also read the questions too.
Let me know if you think I have a future in ASMR recording.
if you’d prefer to listen youtube
CREATIVE UPDATE-painting progression
3 years ago I was scared of drawing halos because they aren’t mine, so I leaned into that because the 6-year-old me who had to say a prayer at school every afternoon part of me decided I should. I love finding icons with their faces scratched out in corners of medieval churches on the various mini expeditions my most spiritual friend and I take to the holiest pilgrimage village in Norfolk. the defaced paintings showing the anger towards someone else’s ideas, we drive each other to do peculiar things, particularly in the name of our chosen gods. I love icon paintings because they are traditional and unchanged, stories about spectacular humans painted by humans. It was around this time I read FEMEN, I didn’t agree with some of what they did, the polarised thoughts around women covering their heads being oppressed(choice is key) but I learned about Oksana Shackko a Ukrainian artist; trained from a very early age in iconography, made a living from it by 12, left it alone for a while during her activist days but went back to it with new meaning before her death at the age of 31 last year. In fact a year ago on the 23 July, this week. That smarted a bit. artnet news
Recently there has been more ambiguity in the halo, it could indeed be a sun, with rays shining out of it, I’ve moved away from whole figures again and back to the pattern and shape making of body parts and the blurring of boundaries between physically internal and external.
When showing people these most recent images the response is often a coy mention of how they are so religious in appearance. I could get existential, talk about spirituality, energy, the big nothing and the end of the world. Humans are resilient and totally fragile, our lives are little blips in time. We want so much freedom as well as needing the comfort of containment. Mostly what I’m expressing is the human struggle, the utter fear of existing and the joy of just being. A whole bunch of feels is in here about the phrase ” babies having babies” usually a sad derogatory term for teenage pregnancy, honestly, though, no one is ever ready, it’s hard even if your life is quite easy, parenting is HARD, 100% not doing that whole baby thing again!
No one really knows what they are doing, and that’s ok.
This morning me and 10 peices of work spanning from 2016-18 spent some time with the year 8s of Norwich High in the beautiful Norwich Cathedral.
I’m used to getting the responses from grown ups, from people accessing MH services, Mentalhealth professionals, other artists, and clinical psychologist 3rd years.
It was an honour and a please to listen to the reflection and analysis of each peice by these young people. Total winner’s 🖤