A Touch of Colour

WARNING: PHOTO HEAVY POST - this may take time to load!!!

Some of my long time readers will know that I delve into the world of all things creative - it's just who I am. As well as my love for making clothes I am a passionate artist. I love colour and I love to create. I can get lost in art work creation, far more than I do in any other media. However, it takes up a massive amount of space. I don't have my own studio and the dining table and back yard are more often my pop-up studio spaces. This means that I tend to have short bursts of art making as the family like to be able to eat their dinner and the washing needs to dry somewhere too (I use the airer for my prints and paintings).

In those quiet days between Christmas and new year, while the weather was poor and everyone had eaten far too much to worry about what was on the table, I made art. I was prolific. I worked on over 20 pieces!!!!

Don't misunderstand, I did not create this many pieces from scratch. I began by experimenting im my sketchbook with some abstract forms. I haven't done this type of work for some time and it shows - I used to work in a purely abstract way some years ago and I'm drawn to shape, colour, line and texture. I used a few small tubes of acrylic, posca pens and oil pastel. I had forgotten how much I love working with oil pastel. It must be one of my favourite drawing media.

The next day I raided my portfolio of unfinished work. Some of this stuff had been in their for 4 or more years and was begging for a new lease of life. Some of this work I cut up.

I wasn't really happy with the collages so stopped and instead pulled out the paint, pastels and paint pens again. I limited the paints to just a few colours and instead tried to focus on my use of the pastel.

When I work like this, I don't feel precious about the work. These are pieces that I feel are not working or lack some form direction. As I start to work, 

I look for the shapes that the original suggests to me. As I work on them some are successful, some aren't. Some I love, some I don't. Although I often find other people love the ones that I don't like.

Many of the original pieces were monotypes. some were abstract in nature as I had experiemented with using a Gelli plate - I still haven't quite got into using this thechnique. Others were more traditional oil based monotypes created on perspex. I love the long working times of this technique, but that means drying times are long too. Many of these had a more landscpae feel about them, as they had been created during my Seaspace project. The original surface really did determine the materials I used on top. The oil pastels work well on the oil based monotypes, and the paint pens are better on the Gelli printed work.

I let the shapes and colours of the original dictate the form and shapes of the layers that I added. Often sitting for a few minutes before adding anything. Letting one piece dry while I added to another. Some had only a few marks added, others had several layers. Many ended up feeling like abstracted landscapes.

I have shared just a few of them here (When work settles a little I'll actually try to get some of this stuff posted as an online gallery). I wonder which is your favourite?

A peek into my creative process.

Big Stormy Sky

I have been re-engaging with my painting practice recently. Over the last few years I have predominantly created one of a kind monotypes, which I often work into with other materials. I keep a sketchbook and like to explore different techniques in there, however, I love to work bigger. when I completed my MA in Fine Art and Education I worked on large format canvases, which were well over 1m. I loved the process here and enjoyed working to such scale, but I don't have the ability to store or transport works of this size at the moment.

I have found a happy medium in working at about 50cm square for paintings. Big enough to get my teeth into, but easily storable and easy to ship and transport.

The Estuary

I continue to work on my Seaspace series. My style has changed quite a lot over the years and I try to capture more of the feel of the place than trying to capture a pictorial representation. As such, my paintings often go through several stages. Today I'd like to share the development stages of one of my paintings. This one is called 'The Estuary' and is based on a view I pass regularly on my daily walks, just a couple of miles from my home on the Northumberland coast. It's painted with Acrylic paint on a standard edge canvas. Most of my acrylics at the moment are Daler Rowney System 3.

This is the beginnings of a new painting. I'd just finished working on another piece and decided to use up the paint I'd already dispensed to block in my composition. At this stage, I don't worry about detail, I just apply the colour quickly and try to get the shapes I want and get rid of that blank canvas feel. Then I leave my work and think about it for a while.

Originally, I thought that this might be a quite realistic painting and I began to apply the underpainting in the right sort of colours. I love bright colours and have a tendency to want to use them everywhere - reign it in Claire!!! So here we have the shape more clearly defined - you can see the beach and sea and river quite clearly.

As I progressed with this, I started to add details of the buildings in the background and more detail to the sky. These are the rough shapes and not supposed to be fine details. It was going ok, I took a break and spent some time looking at it. I do this a lot. If I'm unsure about a painting I will often pop in on the easel and have it on display so I can look at it and see how it wants to be developed, sometimes just a few hours, the longest I've left something like this was about 6 months.

I wasn't feeling it, it seemed too still. It was starting to look like the place rather than capturing the emotion of the place. I swapped out the small brushes for the big ones and began to make more gestural marks. I stand up for this, often using my whole body to create the marks needed (I can be quite messy at this stage and often work outside during the summer months). You can start to see the brush strokes and movement of the paint.

It did not quite capture the feeling and movement of the place, so out came the pallette knives, cardboard and the biggest brushes I have. Paint is scraped over the surface or dry brushed, allowing some of the previous layers to show through and create that ellusive personal sense of place that comes through painting. At this stage I slow down - just so I know when enough is enough. It's so easy to overwork and miss something. Just a few minor careful adjustments and I decided that it was where I wanted it to be.

I'm often asked how long it takes me to create a painting. It takes a lifetime. It takes all the training, skills, knowledge, experience, fails and successes to create each one. To construct the physical painting can take anything from a few hours to a few days, but sometimes, months or even years. Sometimes I don't create work for months, but I'm constantly thinking, considering, collecting visual source materials and ideas, which eventually coalesce into an idea which eventually becomes a series of works. This process often takes two years or longer. My current series has been in development for about 18 months and I'm still not done with it yet.

I hope that you enjoyed this glimpse into my creative process. I'd love to hear about your creativity too.

Both of these paintings have been sold, but open edition prints are available on my Saatchi shop and Gifts with these images are available to buy on Redbubble.

Butterflies and bits of art

Over the half term holiday a few weeks ago I spent a little bit of time doing a bit of painting. A few years ago I did some butterfly inspired work and wanted to do a bit more.

In Progress - can you see the PVA glue?

These pieces are mostly acrylic paint and ink with a few mixed media bits thrown in too, such as netting, plastic and PVA glue.

Where I left them!

One of them has already found a home and you can see the image of it in situ in its new home at the top of the page.

Developing a Painting

Life has been very busy around here over the last few weeks. I have sewn a couple of items, but have yet to blog them. The creativity does continue though! I've had very little time due to a huge amount of work to complete over the last few weeks, it feels like I've been working non stop!

I arranged last year to exhibit some work at the Newbiggin Maritime Centre during march 2015. And true to form I've been undecided about the type of work I wanted to show. In the end I went with Landscapes of the local area as it's a location that overlooks the bay and would fit in with the setting.

So how do I create a painting?

The canvases were stretched and prepped, I'd collated together photographs and sketches to work from.

I work in a loose and quick method, mostly outside as I like to pour paint and spray the paintings to create a range of different effects and both these create a huge amount of mess.

I'd sketched basic forms on the canvases and laid down the first washes of acrylic paint. I like to cover the canvas with a thin layer to begin with.

From there I begin to build up layers, slowly adding colour - often very bright colour.

I always document my work as it progresses and I often photoshop my work to quickly explore how each piece can develop without committing to the paint. Although I start with  my drawings and photographs my paintings usually abstract themselves dueing the process.

With this image I intensified the colour and added some darker tones to the background.

This is then further experimented with in paint. I love adding in texture and often use a range of different materials to build this. All this takes a couple of days as I layer paint, let it dry, adjust and add washes and details, which helps build complexity and depth.

These are not the final pieces - come along to the exhibition to see them. It's open until the end of March.