The hill that I pass regularly is undergoing change. Light operates upon the changed surface of the hill as reaping and the passage of a tractor takes place. The marks on the land are evidence of human activity and of time passing. My paintings track my memory of my passing too. I go out, I look at the hill, come back to where the hill is only in my mind, a separateness which feeds the image.
jeudi 27 juin 2019
mercredi 26 juin 2019
all oil on paper. 87x60cms
On my walks I pass a sloping field. I have been passing it for years and sometimes I have stopped to photograph it and more recently to make drawings of it. Often it has been noted and filed away in the back of my mind until the next time that some shift in weather and light calls my attention to it again.
Theses are simple paintings. They are made from memory. They are paintings that refer to the field but are not really about the field so much as about the direction my painting might take. The grid might make a comeback, the division of the surface might be less intuitive - the golden section comes to mind-
and other possibilities might arise. Sometimes it is necessary to return to basics.
jeudi 7 mars 2019
I admire the facility of portrait painters for instance, the skills learnt, the very look of it, the verisimilitude, the grace of image making. It seems worlds away from mine where I feel the thing must be forced into being against its will. Obstinacy is a part of it. The oily substance resists me and I must fight both it and myself until we both begin to bend and even then it can be sulky and obfuscatory. It is only a substance however, only oily mud. One must work it into something else.
When I have to stop, because I have stopped, the time spent on this will be what remains of me: something that says, I was here and engaged with this and every day was new.
samedi 9 février 2019
oil on canvas. 30x30cm
mercredi 16 janvier 2019
oil on canvas. 100x 40cm
charcoal. 78x 60cm
The resolutions are tempting but keeping to them is another matter entirely. The drawing here is one of exploring those shifts that occur in between looking at the head, drawing and looking back. Unless one is determined to register the head by some means and return to a fixed position then this is what happens. The notation shifts. I have had a go at this before and the result is crude but what happens I think, is that the head starts to inhabit the space in a more solid manner. In the painting it doesn"t show up so much but it is there. One still has to make decisions about what is included, what is omitted but the head is registered through these small movements. There is a lot more to do: the painting should be more akin to the drawing.
In Hedge, the view from my window is less important than the paint on the canvas and there is not a photographic equivalent although I pinned up a black and white photograph of another hedge just to look at whilst I was working. This is not a big painting but I was able to work on it closely so that often I could neither see the hedge or the photograph.
lundi 31 décembre 2018
The Norwegian pullover.
oil on card 68x38cm
The last day. Tomorrow a new start. It is cold, grey but sun is forecast. It has been a year where I have stepped forward to take my place. Both parents are dead. I must make the best use of time now. I am looking forward to it. Turner is supposed to have said that the sun is God. I think painting runs it pretty close.