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New Artworks | Scottish Landscape Art - Scottish Landscape Paintings - Part 4

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First foray into Fife

´On the edge of Rannoch Moor, December´

´On the edge of Rannoch Moor, December´

Well, as I said at the end of last week’s blog a trip over to the Fisher Gallery in Pittenweem in Fife was planned. We were going to travel on over there after first driving to the Strathearn Gallery in Crieff, but then on the Friday I received a message from the Strathearn Gallery saying that another painting had sold and could they hang on to the two unsold pieces for their next show. That was great news and of course it meant that we could have a much more leisurely trip over to Pittenweem.

Having never really ventured over to Fife before we decided to take in a bit of the coast line on the way and return through the centre to see the landscape there. Weather-wise it wasn’t looking too promising when we left Irvine, with dark heavy clouds and patches of rain but as we headed along the motorway east towards Edinburgh this broke to give bright patches of sun and blue sky. We’d obviously arrived in what my Angus based friend Norma calls ‘the sunny east’! As we crossed the bridge over the Firth of Forth, everything looked great. The plan was to follow the coast road around to the small fishing village of Pittenweem. This bit of the trip was in all honesty a little disappointing. I’d imagined great views out over the sea, interspersed with old villages and small towns…..and in a way, this was what we found. We did get some very big and fine views… ..but only briefly, The coast line was much more built up than I’d expected. That said, I’m sure if we’d had much more time to get off the main road and explore more closely, we’d have found some lovely spots.

´Winter day, Blackmount´

Winter Day, Blackmount

Pittenweem was great. It’s a proper wee fishing village with steep little roads and paths winding down to the small harbour. The Fisher Gallery is on the main street and occupies two buildings, one on either side of the street. We were made very welcome and were fed cakes and coffee on our arrival. There was some great work on the walls and I’m hoping the three pieces I took will fit in well. This, their first exhibition of the year, opens tomorrow, Saturday 27th March.

'Above Cononish'

'Above Cononish'

We left about an hour later and this time drove inland by small roads towards Cupar. Now then, this was much more to my liking …wow …great big horizons across gently rolling countryside. With the heavy skies and bright patches of sunlight everything looked particularly grand. I normally paint hills, but this Fife landscape was very impressive and I certainly think I’ll be making a return visit to explore, do some drawing and take some photos. This became even more likely when I spotted two hills. I think they were the Lomond hills. Not too high but they’d offer I’m sure a magnificent view over the Fife landscape. I really was very impressed. We returned using the Kincardine bridge and got some wonderful views towards the Ochil Hills …still holding quite large patches of snow.

In the end, a very worth while day and one that left me plenty to think about and plan for. It’ll probably now be the autumn before I can get back to do a walk, but it’ll be something to look forward to. Anyway, if you get a chance to visit the Fisher Gallery I’d strongly recommend it ….you’ll see some good work and have a great day out.

Making plans

157 'On Ghlas Beinne, Rannoch Moor', Acrylic & Pastel, 2010, 76 x 23 cm

Work In Progress: 'On Ghlas Beinne, Rannoch Moor'

No walks in beautiful snow covered glens and mountains this week I’m afraid. It’s been one of paint and paperwork. We’re now half way through March and there’s much to do before leaving for Speyer in early May …not least of which is to arrange flights out and back. The place where I’ll be living and working is being used for an exhibition until May 9, so I needed to get a flight as soon as possible after that. My partner Anita took on the job of booking the flights on-line and after much time she had everything sorted …except for some reason when it actually came to booking ….the system wouldn’t work! After a few choice words we decided to go into the travel agent the next morning and have them do the work. So then, I’ll be going out on 11th May.

One of the really difficult parts of this trip for me will be finding my way around, learning where the shops I need are, where the items in them are, …in other words finding out about all the day to day things that normally you can just use your eyes for! To help with this, Nita is travelling out with me and will stay for the first two weeks. After living with me and my fuzzy eye for over twenty years, she is a great guide …not just on the hill but perhaps more importantly in everyday situations. With a bit of luck in those first couple of weeks I can get myself orientated, get my studio set up and start to explore my surroundings.

158 'Blackmount, winter', Acrylic & Pastel, 2010, 76 x 23 cm

Work In progress: 'Blackmount, winter'

Mike Lauter of the Speyer arts association said that navigation around the city would be easy for me as the cathedral is at one end and there’s a tower at the other end …..and the house / studio is somewhere in between them! Sounds great. As for getting my gear over there, I’ll be arranging to have it sent out by courier a short time before we leave. We had thought about driving over with all the gear but the expense would be pretty high especially as my local courier will send 20kg packages to Germany for just ten pounds. A few well packed boxes of gear should be enough for a few months and anything forgotten will just have to be done without!

The work for the exhibitions is coming on well. I’ve now got the seven paintings completed for the spring exhibition at the Athol Gallery in Dunkeld and just need to get a couple of pieces framed. I’m currently working on two long thin 76 x 23 cm paintings that will be for the Blairmore Gallery show in the summer. One of these is based on our day over on Arran the other month and is worked in diagonal bands of colour that mimic the bands of rock, snow and grass that we saw in Glen Rosa. This painting is almost complete and indeed I have it hanging in an old temporary frame in the studio at the moment. I like to do this with all my pictures. It allows me to see them better and gives me some time while I’m working on other paintings, to decide as to whether they’re finished or not …and if not, what needs doing to them.

159 'Winter bands, Glen Rosa', Acrylic & Pastel, 2010, 76 x 23 cm

Work In Progress: 'Winter bands, Glen Rosa'

The week ends with another trip up to the Strathearn Gallery to collect the three unsold works at the end of the show, and then to drive across country to Pittenweem to drop off the three new pieces for the Fisher Gallery. We’ve never been over to the Fife coast before so it’ll make a nice change and it’ll be great to see the gallery and to meet John Fisher. Hopefully the rain and gales forecast for the next few days will have passed through by Sunday and we’ll get a chance to see some more of this splendid Scottish landscape.

The Jolomo Scottish Landscape Awards – ‘2009 Finalists’ – Strathearn Gallery, Crieff

144 'Breaking cloud, Am Bodach', Acyrlic & Pastel, 2010, 80 x 80 cm

'Breaking cloud, Am Bodach'

Well, the exhibition opened last Saturday and the eight paintings I included in the show were finally completed, framed, delivered and hanging on the walls in time for the opening at 11.00am that morning!  Now, that doesn’t sound difficult does it?  Just eight pieces.

Of course, I couldn’t do it the easy way and select eight already completed pieces.  No, I was determined to do a few completely new paintings for this show.  And, bar for a few days of panic while I was trying to finish the ‘Winter, Blackmount’ painting … (I just couldn’t get it right for a while), everything went ok.

The framing though was another matter.  The five smaller paintings were fine.  These are always framed the same way; behind glass with a wide single mount and a stylish but simple 7 cm wide distressed ‘York’ silver frame.  This seems to work well with the scratchy, scribbled nature of my paintings.  The three larger pieces were another thing entirely.  At this scale (80 x 80 cm and 60 x 60 cm) I needed a different kind of frame; something without a mount and glass.  I tried a lot of different mouldings and colour combinations before hitting on the right thing.

It’s a fairly broad simple wooden frame with a raised outer edge, painted a pale cream colour and with a thin gold inner edge.  This seems to work well with these paintings.  This sounds quite simple but getting to this point took much bashing of my head against the wall as to start with I’d decided the frames should be dark and with a second outer edge of gold.  This made them look like window frames and so they all had to be completely re-painted ….ooops!  Oh well, we got there in the end and as my framer said …the customer is always right …but not always correct.  He may have a point

The show, containing work by the seven of us short listed for last years Jolomo Awards for Scottish Landscape Painting, looks good.  It’s a smashing gallery with large well lit spaces on two levels.  It was great meeting up with the others again and seeing what they’d all been doing.  There’s a lot of very fine work there, so if you can get to Crieff before the show ends on March 20th, then I’d recommend it …not that I’m at all biased of course!  Of all the work though, my fuzzy eye was caught by Toby Cooke’s fantastic painting, ‘View from Leith’.  It’s quite big and the composition is just great.  Anyway, you can see for yourself, even if you don’t live in driving distance of Crieff …the show can be seen on-line:  www.strathearn-gallery.com .

At the end of the preview on Saturday I was feeling pretty happy as I’d sold a few of my paintings and the gallery has asked if I’d like to put on a solo show in 2011 …Wow!  Mind you it’ll be a lot of work – something in the region of forty pieces, so it’s a good job I’ve a year to work on it!

Jolomo 2009 Finalists Catalogue

The art of organising scribble

1.7 'Early Morning', Pastel, 2003, 45 x 45cm

'Early Morning' - 2003

The realisation that I could still scribble was a huge turning point for me in the lengthy period of readjustment and re-learning I was doing after my sight started to deteriorate around 20 years ago.  I had always loved drawing and see it as one of the fundamental basics behind all my artwork.   Before the fuzzy eyes arrived my drawings varied enormously, from quite tight observational drawings usually of or planning for the sculpture I was then making, to loose and simple sketches done outside and more considered studio based pieces using a lot of colour.  All of them though were dealing with one main issue, that of composition.

I can’t honestly say that I made the jump to scribble and more importantly organising scribble in a sudden moment of inspiration.  I don’t think things really work like that.  I can’t remember quite how the transition took place but I do know and remember distinctly doing the drawing ‘Early morning’ and realising immediately that I’d just gone a long way to confounding the visual impairment with regards to my efforts to continue creating half decent bits of art work again…

‘This was the first of my ‘organised scribbles’. I drew this after a particularly beautiful early morning walk through the countryside near Irvine. The low early sun was so bright that I could see very little, just the vague shapes of odd trees and shrubs amidst the summer grasses’.

This drawing was created using hard, water soluble pastels.  The drawing is built up in layers of scribbled pastel line, starting with very light and pale colours and gradually developing the drawing using brighter and darker ones.  Putting down the first few layers is a pretty soul destroying and time consuming task and one which I’m always grateful for having one of the RNIB talking book machines and a good book to listen too!  Once through this stage, the interesting part starts, I can work out what’s happening and where I’m going with the drawing.  For me, the great thing about working in this fashion was that I’d found a way of working that didn’t need much sight but that still had the appearance of being quite detailed.

1.8  'Riverside, evening', pastel,

'Riverside, evening'

These early drawings were nearly all based on the local Irvine landscape and townscape.  The harbourside where my studio is situated is a wonderful place, changing in mood from hour to hour as the tides ebb and flow and the weather moves in off the Firth of Clyde.  The light, just like in the hills, is constantly changing but it’ never dull …even on the dullest of days.  It can be equally stunning on a day of gales and rain as on a beautiful summer’s day.  It was then for a while the focus of many of my new drawings.

On The Hills

Of course by this stage I was walking the hills regularly and I started to turn my attention towards using these trips as the source for my work.  At the time I couldn’t really figure out a way of doing paintings about these wild places.  My early efforts were pretty dire to say the least.  I was trying to paint them in a more traditional manner and had to use magnifiers to have some idea of what I was doing.  This was a frustrating time for me as I realised that the hills were what I wanted to paint, but I just didn’t know how to go about it.  The early attempts were trying to paint something that I didn’t actually see.  Then I figured out that I needed to try and paint the fuzzy patterns and atmosphere as I now experienced the landscape..and what better way then to use my scribbled line to create this.  So then, I started to scribble onto these paintings, creating a fine of veil on the surface of the paintings.

'From the slopes of Sgorr nam Fiannaidh, Glen Coe', Oil & Pastel, 2004 - 2006, 85 x 49cm, Ref: 22

'From the slopes of Sgorr nam Fiannaidh, Glen Coe' 2004-2006

One of the first of these pieces was a largish painting that tried to capture the brief moment as the cloud broke while we were descending the upper slopes of Sgorr nam Fiannnaidh above Glencoe and Loch Leven.  It wasn’t the complete answer but it did produce a painting that was much more about my experience of being in the hills.  There was and still is, much to do in developing my ways of working, but the organised scribble and its move onto the paint surface was the starting point for much of the work I now do.

Back in Business!

'Every one a critic!'

'Every one a critic!'

On Sunday last, the pipes at the Courtyard studios finally thawed out, and surprisingly there were no burst pipes or floods.  It was a great relief and on Monday morning I moved my painting gear back down and got back to normality …whatever that is!

The pipes were frozen for just on two weeks and I found it very strange working away from my studio space.  For this time I was working in a spare corner of the spare room in our house.  It was rather cramped and I didn’t have much space …but, I did have water to make coffee and I didn’t have to wander along the road in order to use the toilets in the Harbour Arts Centre.  So then, it wasn’t too bad, although the room I was working in happens to be the one the cat spends most of his day sleeping in and so we had a few falling outs over the two weeks!  This was due mainly to me keeping him awake with my cursing every time I mixed the wrong colour or lost the particular pastel I was using.

One thing the temporary move did point out though, was just how much I rely on everything being in their places.  At the studio I have a place for everything.  I can’t see things well enough to look for them when I need them …so I have to be able to find them by memory.  Now, as anyone who’s visited my studio will tell you, I certainly don’t keep it tidy.  It’s a bit of a tip to be honest, but, that said, it is usually an organised tip!  I know exactly where amongst the rubble on my desk, to lay my hands on the tape measure or the scissors.  So long as I keep to this routine, I can move about and work quite quickly.  Of course, if someone comes into the studio and distracts me and I put something down in the wrong place, then it’s usually a ten minute job finding again once the visitor has gone.

This then was what I found working from the room in the house …I didn’t have set places for my gear and so I spent all the time I wasn’t arguing with the cat, searching for the right paint or pastel.'December afternoon, Rannoch Moor'

Surprisingly enough then, I managed to get two paintings completed in my spell in the spare room.  Not big paintings, but finished all the same.  The first piece was one of my long thin (76 x 23 cm) paintings.  This is the first of a number of pictures I’m hoping to produce based on the short day we had on Rannoch Moor back just before Christmas.  The second painting was one I’ve wanted to do for a while now.  It is based on a day last year when we were over on the Isle of Arran and got caught in a series of heavy rain showers.  They made the hills look splendid especially in the early morning light and this is one of what I hope to be a number of works on a similar theme.

'Passing shower, Isle of Arran',

In the end, quite a good and productive couple of weeks in my make shift studio.  I was though glad to get back to the proper one on the harbour side …. and I think the cat is glad I’ve gone too!

Happy Almost Christmas!

L138a 'December afternoon, Glen Lyon', Acrylic & Pastel, 2009, 80 x 80 cmWell, the run up to Christmas this year has been quite a good one.  I’ve got a number of paintings completed this month ready for the exhibition at Strathearn Gallery in February.  This is a group exhibition, containing work by the seven finalists of the Jolomo Awards 2009.  They’re asking for around eight pieces so I’m hoping to include nearly all new work.

I also had a very pleasant surprise the other day as I heard that one of the pieces I’m currently exhibiting in the ScotlandArt.com gallery in Glasgow has just sold, along with a painting at Blairmore Gallery near Dunoon.  The harbour side in Irvine is a quiet place in winter and so sales through galleries are very important.

Like the rest of the country, Irvine this week has had a touch of winter.  Yesterday saw some heavy snow late afternoon and this morning the town was like a skating rink.  Indeed there was so much ice on the pavements that I dug out my small instep crampons (that I use on icy paths in the hill) and crunched my way over the three miles of icy pavements to the studio.  It was great, until that is, I had to walk through the shopping mall!  Not wanting to go to the effort of taking the crampons off, I clattered my way between the shoppers …no doubt getting a few odd looks en route.  The studio has been seriously cold this week and it’s been a case of wearing three jumpers and a bobble hat some days.  From the look of it outside this evening, I’ll be going through the same thing tomorrow, but what the heck….I love snow and it’s quite rare here in Irvine.

Irvine-Harbour-Arran-ViewTomorrow will be the last day for a couple.  This year I’ll be spending a quiet couple of days with my partner Anita.  Last year however, things were a little different.  Anita, who works at the local hospital, had drawn the short straw and was working a twelve and a half hour shift on Christmas Day.  I decided I might as well do the same thing …and we’d start our Christmas at 8 pm when Anita finished work.  She said that she’d drive down to the studio and pick me up on the way home.  Well, all was fine.  I had a nice walk down to the studio in bright winter sunshine on Christmas morning and then spent an enjoyable day painting.  By evening though the weather had turned bad and a fierce gale was blowing and it was raining very hard.  At eight o’clock Anita rang to say she was leaving work and I closed shop and made my way from the back door of the studios to the main gate …which I had to close and lock.  Not concentrating, I put my white cane under my arm and proceeded to walk across the courtyard towards the gate … trying to find the padlock key as I went.  In the total darkness I hadn’t notice a large wheelie bin that had been blown across the courtyard in the gales and was lying on its side right in my path.  I tripped over it’s open lid and fell face first into the empty filthy, wet bin!

When a few minutes later Anita arrived in the car, she said as I got in, ‘oooh, you’re all wet’.  I replied, much to my shame, ‘I’ve just fallen in a ******* bin!’  ‘Happy Christmas’ she said….laughing!

christmas-studio

The Am Bodach paintings

55 'Approaching Am Bodach', Acrylic & Pastel, 2007, 30 x 30cm

'Approaching Am Bodach', Acrylic & Pastel, 2007, 30 x 30cm

Back in the late spring of 2007 my partner Anita and I, along with a friend, spent a long day walking the fine ridges in the Mamoores just to the north of Loch Leven and the Glencoe mountains.  It turned out to be a very fine day with a complete mixture of conditions from bright sun to thick cloud and heavy showers of rain and wet snow.

As we made our way along the ridge towards the final steep climb to the summit of Am Bodach, one of these showers descended and for a while we could see nothing.  As the weather passed, the ridge and the steep rocky mass of Am Bodach loomed ahead.  It was very dramatic and the steep section looked decidedly challenging to me.  As it turned out, it was just a good scrabble rather than a scramble and with the summit now clear it was a fine vantage point.

79 'Mists, Am Bodach', Acrylic & Pastel, 2008, 30 x 30 cm

'Mists, Am Bodach', Acrylic & Pastel, 2008, 30 x 30 cm

 

119 'Approaching Am Bodach', Acrylic & Pastel, 2009, 30 x 30 cm

'Approaching Am Bodach', Acrylic & Pastel, 2009, 30 x 30 cm

The painting I did worked quite well and seemed to sum up the time.  I do though, sometimes like to go back and work up a 2nd, 3rd or even 4th painting; trying each time to develop the image further.

The first three paintings have all been quite small, (30 x 30 cm) but recently I decided to try and make a bigger version …80 x 80 cm.

I’ve been working on this painting on and off for almost a month now and it am starting to come together.  Like it’s predecessors, it‘s not the most colourful of paintings but tries to capture the atmosphere, bulk and scale of this hill.   It has certainly caused me some head-aches and I’m not convinced that I’ve got it right yet.  So then, this is my excuse for the late arrival of this weeks blog…I was too busy with the problems of the new painting to remember to write!

Walking On Colour

136 'Autumn grass, Beinn Inverveigh', Acrylic & Pastel, 2009, 30 x 30 cm

I’ve just completed a small painting (30 x 30 cm) that I’ve called ‘Autumn grass, Beinn Inverviegh’*.  It’s based on a day a few weeks ago when a friend and I headed for a day in the hills.  The day though, was grim, but as it was the only day the two of us could get off we felt we had to get out somewhere despite the dreadful conditions.

The mountain forecast was very poor with winds predicted to gust to 80mph on the summits and prolonged heavy rain.   It was certainly not a day for the high tops, or one that involved any kind of stream crossing either.  In the end my friend suggested we could walk a section of the West Highland Way.  It would be low level on a good path and no navigational problems but we’d at least be out.  We decided to drive up to Bridge of Orchy and walk the WHW north for a few miles.  This at first climbs gradually up over the shoulder of Beinn Inverveigh before dropping back down to near Victoria Bridge and then on up onto Rannoch Moor.  We could go as far as we wanted and then just retrace our steps.

When we arrived at Bridge of Orchy the weather was pretty bad with rain, low cloud and high winds ..but, not as bad as forecast.

We donned the waterproofs and headed off and although it was dull and grey it was good to be out.  As we gained a little height and emerged onto the hill above the trees we realised that the cloud had risen a bit and was now just off the top of Beinn Inverveigh at around 650m.  The wind too, wasn’t any where near as strong as expected and so after a quick rethink we decided to leave the WHW and instead head up Beinn Inverveigh.

It’s a long heathery broad ridge stretching for several kilometres.  The views around to the bigger hills were still limited and very grey, but as soon as we gained a bit more height we realised that much closer to hand, indeed foot, everything was much brighter.  In fact the colours of the numerous grasses were quite astonishing, all kinds of yellow, red, ochre and umber, scattered still with occasional patches of bright green and speckled with small late flowers of yellow and white.  The textures were impressive too; the grass all matted and woven together by the heavy rain as it fell and drained away.

We reached the small pile of rocks marking the summit and it was a lonely place indeed on that day.  By this time the light was already poor and the weather after its brief improvement was filling in again.  We didn’t hang around too long and made back along the ridge in increasingly heavy rain and with the cloud now scudding across the top again.  But what a day, you go out expecting to see nothing and instead come back with a head full of colours!

136 'Autumn grass, Beinn Inverveigh', Acrylic & Pastel, 2009, 30 x 30 cm   * This painting is currently being exhibited at:Gallery 23

23 Parnie St

Glasgow G1 5RJ

Tel: 0141 552 6325

Email: artgallery23@btinternet.com

www.artists-scotland.co.uk

Interesting Times: An Artist´s Life

Work in progressIt’s been an interesting day today, partly because of the weather and partly because of the work.

I realised this morning that it has been just over five months since I picked up the Jolomo award …and of course the financial reward that came with it.  But you know, it’s been strange because I’ve actually found it difficult spending some of the prize.

I’ve been working as an artist on a full or part time basis all my adult life …certainly since leaving art school back in the mid 1980’s …..and typically, almost all of that time, I’ve been near enough skint.

In Newcastle upon Tyne where I had my first studio after leaving Falmouth School of Art, I had so little cash that all my work was made out of the contents of skips.  I worked as a sculptor then and the local builders working on Grey St, used to leave out any half decent bits of wood for me.  My drawings were all done on the back of old vinyl wall paper (I still have some of these …and they’ll probably last longer than the normal bits of white cartridge).

Even when I was working full time (doing a ‘proper’ job as my father put it) I still had little or no cash to spend on expensive art materials ..the type of jobs I could get with an art degree being somewhat limited in west Wales in the early 1990’s.  For most of these years my sketch books were the cheapest of kiddies drawing pads ..soft grainy yellow absorbent paper ….wonderful stuff, although you just had not to mind the pictures of Tom and Jerry on the cover!

By the mid nineties I’d had to give up my job as my sight was so bad …and for the next few years I carried on using the cheapest of materials, a veritable recycler even in those days, painting boards from the skip, paint, often left over from decorating.

Acrylic paints and big brushes

And so ….suddenly I can go out and buy whatever materials I like.  Well that’s the theory anyway.  The thing is that I’ve been so used to making do with as little as possible that it seemed quite odd today when it dawned on my that I needn’t worry about using a lot of paint …I could just go order some more.  It’s great to be in this position but in a way I’m glad that I’ve learnt to make do in the past …you really don’t need the complete contents of the art shop to do your work …not if you really want to do it.  You can always find something to use.  That said, I’m off now to order some more pots of heavy bodied acrylic paint …fantastic sticky stuff packed full of pigment.  This I guess is what the award is all about …giving you the freedom to develop your work, risk more experimental work and above all, not worry about it! Relax…

From the studio door ...high tideOh yer, the weather.  It poured all day …and is still pouring.   From my studio door I could watch the high tide racing in and completely covering the saltings opposite.  It was a wonderful spectacle,.  An interesting place to work …in very interesting times.

RSA, RGI and Scottish Drawing Exhibitions

I’m really not the most organised person in the world, although I am trying to do better.  This said however, in the last few weeks I’ve missed deadlines for two important open exhibitions; the RGI exhibition and the Scottish Drawing exhibition in Paisley.  On both occasions I failed to read the relevant dates and rules, and so missed out on a chance to exhibit work in these shows.

I decided then that I really had to enter a couple of paintings for the RSA annual exhibition ….handing in days Friday 23rd Oct and Saturday 24th

I read through the dates and rules very carefully this time.  I got my partner Anita to read through the dates and rules carefully too!   Then of course it comes down to what paintings to enter ….and this is always the difficult bit.  You can never predict what a selection panel will like or dislike, so it really comes down to what you think is your very best work …always tricky!

This summer I’ve been trying to develop my paintings a little.  I’ve been using a bigger range of brushes, a bigger range of paint …the thick heavy bodied acrylics as well as the standard ones.  I’ve been mixing paint with mediums to create far more fluid colours.  Added to these I’ve still been scribbling into the paintings with oil pastel …but now with perhaps less abandon than in some earlier works.  I want to create good Scottish landscape paintings, but I want them to go beyond simply producing a view.  It’s vitally important to me that the paintings work as Scottish landscape and as paintings in their own right …to be viewed and enjoyed for their purely abstract and aesthetic values.  I’ve therefore been working hard on this side of my work ….I’ve had many failures along the way over this last few months, but a few of the pieces are starting to work in this way to a certain extent.

'NW from Conival, May', Acrylic & Pastel, 2009, 80 x 80 cmI decided then to enter two of these new paintings for the RSA exhibition.  Both of them are slightly bigger than I normally work on and this increase in size has allowed me to be a little more expressive in the way in which I put the paint down.  The two paintings are:

 ‘North west from Conival’, Acrylic & Pastel, 80 x 80 cm

 This painting is based on a walk we did on Conival, one of the two rough and wild Assynt Munros.   It was an almost perfect May day, warm, bright sun with odd clouds producing a wonderful patchwork of light and shade on this rocky and barren landscape.

 

‘Below Mid Hill, Luss’, Acrylic and Pastel, 90 x  60cm

This, the third painting of a small series of works I’m doing based on one particular winter / early spring day in the Luss Hills.  As we descended from the freezing temperatures and gale force winds on the tops, we were treated to an amazing array of colours as the sun caught the different grasses, bracken and heather lower down and the snow and ice higher up.

'Below Mid Hill, Luss', Acrylic & Pastel, 2009, 90 x 60 cmWell then, the two paintings are now in the hands of the RSA along with no doubt several thousand other hopefuls work.  With these ‘open’ exhibitions it’s always a bit of a gamble …you never really know whether your work will be accepted …but it’s always good fun entering.  I always say to people who come into my studio and who are entering works in such exhibitions …don’t get disappointed if your painting is rejected.  But of course, when the rejection letter arrives, it really is hard not to be just a wee bit aggrieved! 

Oh well, here we go again.  If my next blog is a bit on the grumpy side, you’ll know my two paintings failed to get into the show!