Empty nests 31 x 95cm
I did a small painting earlier this year called ‘Nest egg’, see below, which sold at the RI’s annual exhibition. I had been planning a larger painting of a row of nests at the same time but it had taken some time to collect them after the nesting season was over (thanks to friends, walks etc). Having sat looking at them for ages, I eventually got going a couple of weeks ago. I’m not completely sure which birds they belong to (see note below) – I was just inspired by their varying forms and quirks and the feelings they can evoke.
Nest egg 31 x 41cm
For those who may be interested, from the left, I am reliably told that no.3 is a long tailed tit’s and no. 6 is a blackbird’s. No.5 came out of a tit box. Nos.1 and 4 are a mystery – all that’s left is the twiggy scaffolding that was probably lined with softer things. No.2 is also a mystery – it is just a tiny remnant of something mainly made from feathers intertwined with a few little twigs – any ideas?
..between still life, landscape and architecture ….
“Despise not trifles, though they small appear. Sands rise to mountains, moments make the year and trifles life. Your time to trifles give or you may die before you learn to live.” Daniel Sutton, an 18th century scientist.
‘Hanging by a thread’ – new limited edition of 20 prints for sale – for more information click here.
As mentioned in my previous blogs, my still life painting often depicts rows of everyday objects laid out as if for inspection and I am sure that this analytical approach has been influenced by painting my local fenland landscape. I also think that having spent time closely following the construction of a cathedral tower, I began to appreciate the smaller things that played an important role in the greater scheme of things but often went unseen and unappreciated. My mother always supported the underdog – perhaps I do too!
I’ve said this before – I find these everyday objects quietly evocative – they seem both intimate and worldly. They seem to be trying to convey something more than their everyday purpose.
These lightbulbs came from many different places and most of them are now redundant having lain in my brother-in-law’s cupboards for years! From a technical point of view, the varying shapes and opacity fascinated me and the more I looked, the more subtle variations I could see. The surrounding backgrounds, shadows, reflections etc. are essential in describing the essence of the objects themselves.
I have a small solo show, ‘Horizons’, at the Old Fire Engine House in Ely, Cambridgeshire, from 3rd to 26th November 2017. After many years of still life painting, this exhibition has been an opportunity for me to revisit the landscape. My still life painting manifested itself in rows of everyday objects laid out in front of you as if for inspection. There is no doubt in my mind that this analytical approach was partly influenced by the flat, open and regimented landscape of East Anglia where the far horizon is always there and everything is laid out in front of you. Towards it and on it things stand out like props on a stage and catch the eye.
Nearer the time I shall be regularly posting some of this new work on Facebook (Lillias August RI)
Floodlands watercolour 21 x 43.5cm
Unmade bed 1 33 x 41.5cm
I am currently working on a series of paintings of unmade beds. The inspiration came from walking round a house that I was renting with my family. It was very quiet. They had all gone out for a walk and there were just these ‘remains of where they had been’ and I found it very moving. The subject matter is naturally evocative – I want the paintings to be dark and still, slightly brooding but peaceful. Technically the method of painting has been rather brooding too with paint being layered on and lifted off in stages to create a muted, soft yet strong, effect.
Unmade bed 2 33 x 41.5cm
Decommissioned 93 x 35cm
Last year I went to visit the Suffolk Constabulary Headquarters as I wanted to paint a picture of the knives that had been handed in during a knife amnesty. While I was there, there was news of some firearms that were going to be decommissioned and I asked if I could look at them too. My paintings, ‘Amnesty’ and ‘Decommissioned’ are the result of my time there. There was quite a wait before I could see the result of the firearms decommissioning process – a powerful metal machine had sliced through the guns and rendered them useless. I know knives and the guns are disturbing and don’t make comfortable subject matter. I can’t really explain why I wanted to paint them. They are powerful and evocative and will say different things to different people. I suppose that I was drawn to what lies behind them – the stories that they could tell. The shafts of light through the vertical blinds seem to enhance the mood (see previous post on backgrounds). Both paintings will be with Beaux Art, Bath at the Affordable Art Fair in Battersea, London 8 – 12 March and then at the gallery itself.
Amnesty 41 x 96cm
Most of my still life paintings are set up in my studio with light from a window on my right. Although the subject matter is what inspires me, the backgrounds and shadows are some of the most important parts of the painting as they enhance and compliment the subject matter itself. On the technical side, I nearly always start with the background and shadows, move on to the subject and then dance between the two, building up their relationship until I think it works and they are ‘speaking to each other’.
Bits 36 x 96cm
Shadows reflect their object – that’s obvious – but it’s not just the shape or the type of light that comes into play. They have hints of reflective light and colour in them that speak to the object to each side of them. Sometimes small bits of light bounce off other things and interfere with the prominent shadow and it’s hard to work out where it’s come from. Likewise, bits of light often capture the dark side of the object. If the background is busy, it too becomes something different within the shadows. The relationship between the lit side of the object and its background also varies. So there is a lot to think about and get involved with.
So what happens when light goes through the object? “We’ll see”, as my father used to say when I was asking something he didn’t want to answer! I recently finished a painting of light bulbs with many shapes, sizes and degrees of opacity and I am now working on a row of ten green bottles – all different thicknesses and shades. We’ll see…..
Hanging by a thread 30 x 90cm
Ten green bottles – work in progress
The Royal Institute of Painters in Water Colours (RI) is holding a fundraising exhibition called ‘Splash!’ (8-13 November). This exhibition offers a unique opportunity to buy work by top watercolour painters. Included in the exhibition is a silent auction of 65 small paintings – with a starting bid of £50 it is highly likely some people are going to go home with a little treasure. Please come along and support this event. Members of the RI will be there every day to show you around. Here is a Private View Invitation with all the information.
Here are two more paintings from my time at the Cambridge Museum of Archaeology and Anthropology – small bowls ranging from 400BC to 3 Millennium BC and a row of nineteenth century trade beads. They were very different subjects to paint – the pottery vessels felt soft with their muted colours, loose designs and curvaceous shapes. In comparison the trade beads were like little jewels – hard, intricate and brightly-coloured.
Ancient vessels, watercolour 26 x 45cm
Trade beads, watercolour 19 x 71cm
And here is the result of my time at the Suffolk Constabulary Police Headquarters (please see previous post – Unconventional beauty). This is another large painting – most of my subjects are painted life size and with this subject matter I felt it was particularly important. This is the first of a series of work which I am hoping to complete by the end of the year.
Amnesty knives, watercolour 41 x 96cm
I hope to be adding a commissions page to my website soon – watch this space.
A row of Roman bottles, watercolour 21 x 50cm
I have recently been working on paintings from my time at the University of Cambridge Museum of Archaeology and Anthropology (MAA). ‘A row of Roman bottles’ will be in the RI 2016 exhibition (see invitation below), alongside other new paintings – some mentioned in previous posts.
Over the past few weeks I have visited the Suffolk Constabulary Police Headquarters. They have a diverse collection of knives acquired through their Knife Amnesty and I wanted to do a painting of them. Some look so innocent (everyday kitchen or garden knives), while others definitely aren’t. We will never know who handed them in or why. It’s hard to know why I get these urges to paint certain subjects. Obviously, whether it is rows of Roman bottles, old boots or knives, there is a huge gap in what we know about their history – who owned them, what did they used them for or why did they get rid of them? There is literally more to them than meets the eye and I am trying to point towards it. For me, these objects have an inherent attraction. It is an unconventional beauty. It is not only the simplicity of the objects themselves that inspires me – what lies behind the surface also adds to their attraction and potency.
The RI 2016 exhibition runs from 6th – 16th April (10am – 5pm) at the Mall Galleries, London SWI
The Private View is on Tuesday 5 April, 12 noon – 8pm, and you are welcome to come.
It is being opened at 3pm by
Rt Hon John Whittingdale MP, Secretary of State for Culture, Media and Sport.
Eight pebbles, watercolour 18 x 41cm