Friday, 10 May 2013
Monday, 1 April 2013
Sunday, 24 March 2013
Monday, 10 December 2012
Monday, 27 August 2012
Tunnel Visions and Minotaur Dreams
These first two are small oil studies,
exploratory paintings in a new series
called "Tunnel Visions",
hinting at the preciousness of sight,
again exploring boundaries between landscape,
aerial perspective techniques and abstraction.
As James Elkins has described so beautifully in "What Painting Is",
oil paint actively encourages this kind of thing -
a sense of depth and the wallowing in atmospheric effects!
Largely the marks are made with the thumb and fingertips
and occasionally rags.
Painting medium or solvent dissolves and blurs edges and allows for subtle skeins of pigment to criss cross one another and blend.
In the above example, alizarin crimson makes a dramatic note
which could possibly be seen as jarring, but that's the point
really - experimentation.
Below, sap green, white and raw umber are applied more
loosely, but with a similar end in view; that of suggesting a heavily
circumscribed glimpse upon some new realm.
Minotaur Dreams...
Above are two from the "Minotaur Dreams" series,
where similar techniques are used with warm raw burnt and red umber,
deep orange oxides, indian yellow and smoky transparent blacks.
Solvent is sprayed on gently to make the paint more diffuse
and give detailed drip effects in some areas.
Rags are used to expose paler golden staining from the Indian yellow.
deep orange oxides, indian yellow and smoky transparent blacks.
Solvent is sprayed on gently to make the paint more diffuse
and give detailed drip effects in some areas.
Rags are used to expose paler golden staining from the Indian yellow.
White and naples yellow are opaque additions that immediately create
a fog like area - sometimes this gives a sense of far distance
and a blurring of any hinted-at horizon.
and a blurring of any hinted-at horizon.
Below, a Bull of the Woods, with an initial improvised drawing layer
using piped black acylic from a plastic bottle with nozzle
(the type you get in haircolouring kits).
This dries very fast and it's very satisfying to rub oil paint over
and around these contour lines.
That eye keeps recurring. Slightly unnerving...
using piped black acylic from a plastic bottle with nozzle
(the type you get in haircolouring kits).
This dries very fast and it's very satisfying to rub oil paint over
and around these contour lines.
That eye keeps recurring. Slightly unnerving...
Tuesday, 17 April 2012
Recent work,March - April (Oh Whistle and I'll Come to You; Entanglement)
Oh Whistle and I'll Come To You
Entanglement
Wednesday, 29 February 2012
Thursday, 2 February 2012
You Did That!
Tonight the target figure for the crowd funding "Save the Old Lock-up Studio"
project was reached!
Sincere thanks to all who contributed!
I'll probably be asleep for the next few days... :-)
Tuesday, 31 January 2012
£1,483 funded; £302 to go!
Very exciting times! We are approaching our target with just three days
remaining on the "We Did This" Crowd Funding site!
£1,483 funded; £302 to go!
This will secure the lease for the Old Lock Up studio for the next six months.
original painting by Rachael Pinks
Online gallery here
Rachael in her studio
Thanks so much to everyone who's contributed,
either directly or by purchasing paintings and prints
from my etsy shop. At least 50%
of any art sales I make up to the deadline on February 4th
will go towards this project.
Many thanks too to all
who've helped to spread the word!
Sunday, 29 January 2012
Wednesday, 25 January 2012
Wednesday, 18 January 2012
High summer revisited, mid-January
Summer Storm (II)
Here I was revisiting an older painting idea,
but aiming for a slightly different look, darker and more loose with less clearly defined shapes.
I
I don't normally post such large closeups at full size but in this case I think it's necessary as my camera doesn't capture the effect of looking at the complete painting well at all! I suppose that's only to be expected as it only has one lens for a start- like listening to an elaborate stereo track in mono!
Violets and mauves are notoriously elusive, a camera really can never properly replicate the optical blending effects within our visual systems. The experience of standing in front of a painting is so much more of a rich, multisensory experience. I hope one day to be able to have short video clips (in 3d?! hmm...) ranging over the painting, rather than static shots only.
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