When I am working elements sometimes naturally occur, this is what makes painting exciting, an idea sparks off another, surprises can happen, happy accidents. I am realising I see the landscape as areas containing modes of activity that I can work with, the physical energy of matter in the landscape. In my search for meaning I am looking for order and randomness. I like the idea of creating a presence and not representing something through pictorial conventions. I think a presence requires a total reading of an image.

I generally work vertically or flat on a table. I can see the advantages of working on the floor as this enables you to walk around the work, it feels like stepping into the landscape.

In the studio

I have had a productive day in the studio, arranging, reflecting, adding and removing to develop the work further.IMG_0037

Oil paint on ceramic tile.



Oil paint and graphite on paper.

I knocked back the vibrant colours with a thin glaze of zinc white to give a good ground to continue work on. The piece, top right, I prepared the ground with graphite powder to take to the shoreline along with other prepared papers to experience the natural elements. I have arranged them in this format to see how they work as a panelled piece. I think this is working but I would like to play around with the arrangement.


Oil paint on aluminium.

I added a thin glaze of Sap Green to the French Ultramarine and Purple Lake it is beginning to allude to my subject.IMG_1505

Oil paint on plywood and burlap.

This is my first attempt of putting oil paint on burlap. It has gone on a bit patchy, the surface is rough and uneven and grabs the pigment. It is a thin glaze of Purple Lake. I will put another coat on when dry and see what happens. I think the plywood offsets the burlap well when placed together.

In the studio

I have learnt to make layers of glaze thin to begin with. This is what happens if the glaze is too thick. Prussian Blue oil paint on aluminium. But I can use this as it is a good ground to work on and layer up with more glazes.



When using a bought primed canvas do not size and gesso the surface as it will crack and the canvas becomes very taught. Just paint directly onto the canvas. On this large canvas I put a number of layers of a blue grey. Today I have put a thin white wash on to try and knock the colour back. I will add another wash when dry. I used a large brush and went against the grain for an even coat. I am going to add more layers of white glaze to then experiment with a Prussian Blue and Alizarin Crimson glaze. Keep following to see what happens.