Two field edge paintings.

oil on paper. 78x60cms

Climbing a track near to my home, a field becomes tilted, almost like a theatre set back drop. I often stand and watch the light and shadow move across it and now, at this time of year, just before ploughing, the edges blur with new growth. Everything shifts slightly, and then the plough slices it into sharp shapes once more.

Five paintings from above a field edge.

                                      

                                                     all oil on paper. 87x60 cms

I made these after a long walk, my regular walk by a field edge and on returning home they seemed the obvious thing to set down. Following these I went to the National Gallery in London in search of Thomas Jones and his paintings from Naples.  For anyone interested, he was born in 1742 and made some remarkable paintings during his tour of Italy, quite unlike his work before or after.            

Visits

In poor light I try to make use of the day to draw and I have been fortunate to have had visits from artist friends for coffee, cake, conversation and drowsing by the wood stove. I know of one artist who has drawn the same way for years and is very good at it whereas I need to approach a drawing afresh, as if it was all new to me. Sometimes it works but there is always that niggling feeling that tells me to try again.

Wet weather drawing

It has been raining for days: I am staying in. From my window I can see the hedge becoming clearer as the foliage is removed by wind and rain.

Freedom feels like this.

We will recognize that without the need to please others we can please ourselves. One of the great things about independence is that one can take a risk with an idea and so, after a walk the other day, I came into my shed and started to make these drawings. Marks on a surface that take on a life of their own.

Four drawings from early Autumn.

                                                                        170x120cms

116x110 cms

55x55  cms

62x53 cms

all ink,oil and emulsion on paper.

These four drawings are from a series based upon observation, supported by monochrome photographs. They are very much about the marks. In fact I am often working very close to the support to concentrate upon making the marks and trying not to think about the source. It is only later that there can be a sense of recognition that yes, I did see something like this, I did photograph something like this though I don't remember when. It is all bound together.

Tracks 2. Field edges.

ploughing and tape. ink, emulsion on paper

field edge and tape. ink and oil on paper

field edge. oil on paper

beginning to plough. oil on paper

tracks. oil on paper

lines . oil on canvas

I think I know where these might lead. The tracks on the land and the tracks in the paint must come together before too long. The several crossings of a tractor on the hill marking the cut wheat and now the land being cut by the plough are making their own crossing places with the paint.