What a rewarding day at University Centre Somerset delivering an oil paint making workshop, giving an artist talk & sharing my work with such great BA Fine Art Degree students.
So engaging & welcoming. Discussing the materiality of paint, the passion for colour & the importance of drawing.
Working in the studio in isolation these last few weeks has helped me to immerse myself in my Alaska inspired works. In series oil & pigment paintings on plywood & canvas and line drawings in charcoal pencil on Fabriano paper. These are all works in progress using colour & drawing into painting.
Works on paper inspired by my time at PADA Studios Barreiro, Lisbon, Portugal.
Unconscious Place 1_oil & pigments on paper-30x80cm
Unconscious Place 3_oil & pigments on paper_16x20cm
So very pleased to be one of 6 international artists selected for Turps Banana/PADA Residency, Lisbon, Portugal in September 2019. An intensive 1 month programme mentored by Phil King editor of Turps Banana Magazine.
My work represents a passage of thought.
It carries the presence of the conscious mind and the memory of place.
Jeremy Gardiner Jurassic Coast exhibition at Victoria Art Gallery Bath is a really interesting exhibition where the artist shares his process, methods and influences. Well worth a visit and is on until 1st March.
Gardiner portrays the Jurassic coastline in a series of paintings and mono prints. He walks through the landscape making studies and sketches. He remembers the time or place, without physically being there enabling him to capture its essence.
The exhibition starts with a series of framed mono prints, Gardiner refers to these as a downward slice through the landscape, representing layers of geological time.
Jeremy Gardiner. Framed mono prints. Victoria Art Gallery Bath.
Gardiner’s influences are John Piper, Graham Sutherland and Paul Nash, 1940 British Neo Romantic painters.
Ideas from the exhibition: painting on birch and popular panels, flat area of colour alongside textured areas, an uneven edge is interesting and to layer up wood to paint on.
Gardiner’s process is to collect fossils, which occur in the work. He maps patterns of information into his paintings by using collaged shapes as a relief overlapping to give a sense of a multiple view.
It is really good to be back in my studio this week at Bath Spa University. I have been preparing my space for my studio module assessment, making sure decisions about what is and isn’t working.
I am considering what the work is saying by using the wall as my canvas to arrange works that connect in a way that alludes to my subject, the transience of place. This is where I have arrived at.
At the moment these are hung as two separate assemblages.
Today I recognised how the reflections from the windows were making shadows on my work. I documented them to think about and maybe use later in my work.
Landscape genre is a large subject. There has been a shift in my work from appearing to look like the landscape to alluding to it. The introduction of assemblage is an exciting new element within the work, each panel tells you different things. The subject matter remains important.
Past Present Future: sustaining practice. Tim Parry-Williams.
Tim Parry-Williams is a weaver, designer, researcher, curator and MA Design Fashion and Textiles course leader at Bath Spa Uni. This is what I have learnt today from craftsman Parry-Williams.
Plan your studio days as they are precious.
Translate to other ways of working.
Reflect on your practice, deconstruct what you are doing.
What have you got to offer?
What is your vocabulary, your language?
Think about how you start. I start painting either with a thick, solid ground or I build up with thin layers of glaze.
Record your task for the day. Be focused.
How can I translate what I am seeing in other artists work to mine?
Responding to the world by gaining a grounding in materials and process.
Dedicate your time to polishing a certain skill.