Having brought two panels to the gilding stage, I couldnt wait to get going, although knowing the mess that would ensue. I have yet to gild the 8’X4′ panel, that will be a challenge, and is set for today provided my schlag (imitation gold leaf) from Wrights of Lym arrive as expected. The gold has to be imitation gold as I need to tarnish the metal to create the effect I require. Wrights in Cheshire, is a company I visited a few years ago on a college trip, and it was completely fascinating, in that we were told that it was one of only two places in England that still beat gold by hand, I dont know if that is still so now, as most gold is factory milled. I remember seeing the gold being melted in a crucible, and brought to a bench where a pair of beaters rythmically hammered the gold. In another room ladies were sat at tables trimming and placing leaves between tissue. This brings to mind the lovely tutor I had, Nigel Leaney, who was such an inspirational man, he taught us about paint, not you would think one of the most riviting subjects for a lecture, but amazingly it was, with magical ingredients such as lapiz lazuli, dragons blood, myrh, and many such other, he was generous with his knowledge, and of himself. I must away to my studio now to check on that gold.

I have taken a rest from my large panels, and am working on rwo panels 1 metre square, and they are new versions of “flow”. I love these pieces as they are so expressive of the concept of landscape as a form that is hard wired into our subconscious. The form and flow work as a visual concept and as an artist actually working on the pieces the body takes on the movement and so the panel takes on the visual and the physical. Whilst work is in progress the eye, body and hand engage with the mind to create the form. For me the entire mind and body are fully engaged during the initial stages, this eventually progresses to critical focus and decision making, and this is where hard work and perseverence come into force, making minute selections of texture, colour et al. Once the main body of work is created layer building and drying times start to take up a lot of time, and this is where the critical eye comes in, choosing the right placement of layer and texture, this is the place where I agonise, fall in and out of love with a piece, leave it, go back to it, rework it, and that is precicely where I am at present with at least four panels.

The work progresses, as do the textural layers. I have just flat painted the entire panel so that I can assess the build up of layers and to see where more are needed, and more ARE needed. The two panels that I am working on, “Salt flats” and “Eroded volcano”, are so completely different from my perspective, that to change them over and work on the other is a complete visual rest. They are getting so heavy now, that my colleague is unable to help me move them, and I am concerned about moving them anyway, bit of a problem there. Maybe I need a new studio! (only kidding!)

I started work on my first large panel way back end of march, and came to a shuddering halt,knowing that I had gone as far as I could for then and that I had to rest it. This resting period can be over very quickly or can last a very long time, or may last for ever or until you overpaint or scrap. During this time I leave the piece is plain sight, so that I view it regularely during the course of my work, it is a kind of subconscious weighing up, and at some time hopefully, inspiration will come. I can now say that last friday during a long telephone conversation, during which time I could hardly get a word in edgewise, I had one such eureka moment. During the course of the very long diatribe ensuing on the phone, I was wandering around my studio, picking up this and that, and suddenly my problem with my panel was solved, it just popped into my head fully formed and ready to go. I quickly noted down what I had to do to resolve my panel issue, continued my phone call, and when it was concluded, set to work. I have to say, although still a work in progress, I am back in business and the panel progresses.Very satisfying indeed.

I have just re-read my last blog, and I have to say that the work just continues. There is a saying, that something regarded as boring, can be said to be as boring as waiting for paint to dry, and alas this is somewhat similar to my situation now. I am still building up layers of gesso, and the entire panel is grey, wet grey, dry grey, textured grey, etc etc. Inbetween working on the panel I continue to create my gesso spheres, some can be called dribble spheres as the process is somewhat akin to dribbling, this also is a process of application and drying time, building up gradually layer by layer, and for someone of my personality, which can sometimes be impetuous, it is a lesson in time management and patience. I have also a private commission to work on, which takes me back a little to some previous work, with glass and wood, and it will be enjoyable to revisit, and also to re look and maybe extend this body of work. It is I think good practice every now and then to look back and take stock of the artistic journey that has been taken, and the choices made along the way. I thought back to what inspired me to work with glass, and why I chose to create kiln formed glass as opposed to blown glass, and although glass has very unique properties, such as translucency, and light reflection, it was still texture that had to be an intrinsic ellement. My kiln has not been used for a very long time now and I’m not even sure it will work when switched back on again, however after this body of work has been completed I am anxious to work with glass once again. Note to self “write that down on the to do list”.

Working on the large panels allows for much more physicallity, and gives the feeling of walking the earthscape and mirroring the movement of line with the body, a real connection, remeniscent of how aborigenees walk the land and their amazing paintings that map their trails. The initial stages are all about contour, texture, and building the feeling of terrain, and must not be rushed, this stage has to be perfect before anything else can be done. Visually, it is frustrating, and eventually applying colour comes as a releif and bring the panels to life. Each panel becomes an intimate part of my life whilst being formed, I know every twist and turn, line, and feature, and it progresses slowly each mark, each addition a decision made, and a choice taken.

I have today ordered some 8’x4′ panels for my next work and this will be in my new studio premises at Garmston Court, I have an urge to have some large panels for my next exhibition. The Carre Gallery exhibition was very good with some interesting observations from some very erudite visitors, I thank them for that and hope to see them at Sam Scorer in November. I have some ideas that I want to work through, involving making paper impressions from panels, and to tint with natural pigments.

Having just got back from a lovely holiday, it is great to feel rested and revitalised. I have my exhibition “Earthscapes” starting next week at the Carre Gallery, just for one week, and then after that I will be moving into my new studio space at Garmston Court. I am looking forward to trying out some new ideas that came to me whilst on holiday in Barbados. The sea is such an amazing colour there that I found I was having all sorts of ideas without even trying to think. Also came upon some amazing rock formations on the east coast, near Bathsheba, and of course coral and shells found whilst walking the beaches. I have now to put together workshops and art classes that I intend to run from my new premises, interesting times.

Things are definately moving, if all goes according to plan I shall be moving in to my new studio beginning of march along with a long time friend and colleague. It will be exciting to be able to welcome students to my workshops in the new premises, so much work to be done to prepare etc. I have yet to decide on different workshops, almost certainly there will be Decorative Arts, as well as Design, Gesso, and Glass. Watch this space for further updates.

I have just got some work back from being framed, and I am very pleased with the result. Frames can totally change the appearence of the work, the trick is to select according to the subject, and where you ultimately expect to them to hang. The frame is like the full stop, the final step in the process. Frames can make statements about all manner of things, for example, they used to be huge heavy carved and gilded, ornate frames that were to be hung in places owned by the very wealthy and so had to fit in with their surroundings. A frame can make a cultural statement, or a fiscal statement, however today, a lot of paintings/panels are not framed at all, which is in its self a statement, perhaps of less formality or of a modern interior.As far as my work is concerned, I frame smaller pieces, but the larger panels of necessity stand on there own, unframed.