A family outing. Good humours illustrated; gentleness joy and and fun.
Evening sun, shadows on the page, the blinds across my hand noir like.
The day, a day, what a thing.
How much it holds, how far it reaches if one really cares to observe it.
Peace now. Light dancing on the leaves creates the appearance of movement.
I’m here once more with my familiar the singing fridge.
My trusted companion and round the clock sentinel of four years standing.
The last of the summers offering.
I can feel the mood shifting.
Cogs of change turning.
Hormones alternating in a slow quiet fashion as my evening self clocks in.
One third of the way there. I have to say I’m pretty impressed with myself!
Thirty three entries in succession featuring paintings. collage, drawings in pastels, ink and charcoal and several ceramic sculptures. I am satisfied with how I’ve catalogued my creations and am excited to see how it continues.
Each day I make a choice of what to include based on largely subjective criteria. How I’m feeling on the day. I like to pick a work that complements my frame of mind,something that corresponds to the thoughts and concerns and reflects the flavour of my current experience.
I’ve included to date a couple of short sequences of works for example there is a succession of posts from my London days and I started out with a selection of my ceramic work. This allows me to prepare a little in advance whereby I can sit with the selection and conceive ideas for the words to accompany the images.
Other days are purely spontaneous and I write whatever what comes to mind.
Todays entry is an imaginative composition in pastels. It features bold primary colours, nature motifs and other more abstract forms in a sort of patch work framework.
It is a small scale work, I used an A5 sketch pad and is displayed here in a lovely box frame.
This I’d describe as a semi abstract imaginative composition. It features a city scape with burning buildings in a sinister ominous apocalyptic scene.
At first I drew in the crow naturalistically and added in the setting afterwards. I often work that way, I take a motif which inspires a mood or feeling and work in the mood freely until I feel I’ve hit a balance. It is a delicate process and many works created in this way are yet unfinished perhaps because they are a process of a state and the work stop when the state passes. Sometimes though the state allows for a complete execution on the page and when this happens it feels like magic.
There is a dreamlike quality to some of the pictures I’ve created using this method. As in a dream elements are distinct and recognisable and others less so but hold more of a feeling quality to them. I like blending and fusing the lines between semi naturalism and abstract drawing.
Crows represent the harbingers or sentinel to me. They are also scavengers. I used to walk on Hampstead Heath a lot where the crows would gather in hundreds at dusk signalling it was time for me to head home. It was thrilling and haunting to hear their cries in such large numbers as the park emptied out.
They are a highly intelligent specie full of mythic and symbolic qualities of a dark and knowing variety.
There are some graphic elements to the picture also. The buildings are drawn in a comic book style. I used some experimentation imaging a Gotham scape in my minds eye to help me and surprisingly it achieved the desired result.
I think I will continue with my series of pastels for the next few days all of which were done over the course of my stint in London. I was limited to working in a very restrictive space. Setting up in a small room, with a small table and shortage of surface area for materials required ingenuity and determination.
When not drawing from my imagination I’d often turn to the every day objects around me for inspiration. The simple composition of a vase of roses and a piece of fruit is a traditional one. I added the avocado to the scene to add balance and to create a sense of contrasting textures, the softness of the petals against firm fruit .
I worked quickly varying the pressure of the pastels against the paper to create depth and form. I paid attention to the direction of my marks to indicate perspective and to the fall of the petals,
I did minimal marks for the vase, a complex vintage cut glass affair in a subtle shade of rose. The simplicity is effective, the impression of the vase is achieved in an unfussy manner.
Blending was problematic I find I’d muddy the work by smudging it with my hand and muddy it further in my attempt to resolve it. This is something I can work in in the future and perhaps study the work of others in this medium. There are inconsistencies in the application of the blue background; the visible joins and criss crossing of the markings draws attentions away from the subjects and is also something to pay attention in the future.
It was fun working with my new materials the chalk pastels and buff hued textured cartridge paper. I was very conscious in keeping it light. It was a beautiful summer’s day and I must say I managed to create a bit of sunshine in the picture.