ARTISTS TALKING

# 1 [11 June 2009]

This drawing/painting has surprised me by direction it has taken. I had envisioned brightly lit chimneys surrounded by the darkness of the receding rain storm. The structure of the scaffold married with drawing of this structure made leaving the drawing marks show become important.

# 2 [7 July 2009]

I had an encouraging email from Andrew Bryant, the Artists talking Online Editor, encouraging me to continue by blog. I must confess a lack of confidence talking here as my style of work is definately figurative. The contemporary art scene does not share my values.

However ... I know that for my work to develop I need to think a lot harder about where my work is going. I live in a world that does not want to hear my 'art's bollocks' . So here goes and please bear with the baby steps. Starting straight into my present project ... a series of small 18.0 x 12.0 cm oils on coarse canvas (forces me to forget detail) looking the part of my village I call 'home'.

Here is an initial sketch showing The Bartholomew Rooms. It is a small medieval building which only has small windows on the ground floor which makes it very claustrophobic. I saw this view when sitting at pub tables opposite and liked the way that figures both blocked my view in but also attracted my eye in ...

# 3 [9 July 2009]

So why the small size of the canvases in this series?

I think the main reason is that I have arthritis in my back. Small canvases are easier for me to cope with as holding my arms up can cause me pain.

Pragmatically it is easier to sell the the smaller size as they are not expensive.

Talking to older folk they tell me how this village has changed generally but it is the small changes like door design/colours and windows etc that have been lost. In my time I have seen windows replaced, shops closed etc. The small size allows me to look at detail of 'my time' with out getting lost in the bigger picture.

However, I hope, to exhibit them as a whole.

# 4 [15 July 2009]

I have continued with the small paintings but have now added a portrait of a Morris Dancer.  Dave has agreed to model for a number of live sessions. At the next session the film camera will be there as a local film maker wants to document the process of the painting. I have enough of an ego to say yes to the filming but have invited a couple of other local artists to join me on the session to take the pressure off me.

# 5 [10 August 2009]

I want to look at the issue of trying to work while on benefits.  

My personal experience when an illustration contract was canceled by the client was horrid.  I was accused of making myself 'purposely' unemployed and this was after making my business and tax records available to them. I was then told that as I had unsold paintings, drawings and further work on my computer  I was required to sell 'my stock' before benefits could be paid and I must not do anymore painting.  I spent a lot of time explaining things but it was three months before I received any benefits. I survived on my termination of contract payment and on loans from friends who only expected repayment when I was able.

 I can earn money both from working as an designer and as an artist/illustrator but only on an irregular freelance basis. My own research says that any work means that all benefits will stop if I earn any money. I am frustrated by not being able to try working especially as  more and more work is only being offered on a 'freelance' basis. I am unable to take an alternative job for reasons I am unwilling to explain here. I do not know how to get myself out of this trap.

 I still paint because it is breathing to me.

# 6 [29 August 2009]

Painting the doors of my home village still continues. Realized that I am intersection between the darkness and the light. Now that did surprise me.

# 7 [8 September 2009]

This one is an illustration of the householders' public face. Looking from the inside out is to see the shielding or barrier to viewing the front room.

# 8 [10 December 2009]

My computer died and repair was not an option as my iMac was 'vintage'. When my panic died down I realised that my house content insurance would cover it. So I am now up and running after re-learning how to use a very whizzy new iMac.

My painting series of local doors have continued. They will be exhibited as part of 'Artweeks',  Oxfordshire Visual Art Festival in 2010.  Seeing these small canvases en mass in the studio makes them monumental. My feelings about them has changed from the beginning of this project. I am no longer interest in just representation but beginning to be interested in the light. Nor sure where this will go but things are changing.

# 9 [26 March 2010]

I am thinking of entering this drawing of my grand-daughter for the
'Threadneedle Prize'. What do you think?

# 10 [27 March 2010]

Well the exhibition for my door series is approaching. So my son came with his big camera and did the quality photography that these canvases needed. These paintings are to be hung in a block according to the rainbow spectrum of colours. It was the first time I had seen them placed in the planned order. They do become something special when seen like this. it would be nice if they were sold as a complete series but reality is that the canvases will be sold individually. I spent hours sweating the 'artist statement' to go with them. I tried to make it personal and reflect the short answer I would give to a client/viewer. I confess that I do not know if it makes sense now.

'Artist Statement'

The village of Eynsham  is my inspiration. I enjoy painting in series.  This could be  little as two paintings or like the 'Eynsham Doors' series which includes  21 paintings and is my largest to date.  My starting concept was to produce a body of work based upon the individual doors seen in my part of Eynsham. I decided that this work was to be both allegorical as well as representational. 

When white light is refracted in a rainbow it separates into a continuous spectrum of colour  that is traditionally divided into the bands of colour known as red, orange, yellow, green blue indigo and violet. Eynsham is the white light divided into panels which are themed on rainbow colours.  The colour strategies of each panel is tempered by it's underlying colour. On an  individual basis these doors are an expression of the boundary between private and public space but grouped here without the bounds of geography they have become something glorious.

Since graduating in 2000 with a 2.1  B.A. honours degree in illustration and graphic design I have been a freelance artist, graphic designer and illustrator.