{"id":1921,"date":"2015-09-16T11:11:37","date_gmt":"2015-09-16T10:11:37","guid":{"rendered":"http:\/\/www.treeshark.com\/treeblog\/?p=1921"},"modified":"2015-09-16T11:11:37","modified_gmt":"2015-09-16T10:11:37","slug":"checking-on-reality","status":"publish","type":"post","link":"https:\/\/www.treeshark.com\/treeblog\/?p=1921","title":{"rendered":"Checking on Reality"},"content":{"rendered":"

I am in the last stages of assembling my first ever one man show. There\u00a0is a lot to do with the touch ups that I had never got around to, varnishing and the considerable effort of framing. I could pay to have them framed but to get what I want that would cost \u00a3200 quid a picture at least as against \u00a320 and a couple of hours of my time. During this process, which I quite enjoy as I get pleasure from the making process, I have thought a good deal about picture making in our current age.<\/p>\n

One thing that strikes me is that there are so many people painting. Just look on line and there are thousands of sites with the title: “The Art of ……….” . It seems certain there are many more being painted than there are walls to put them on. It must be a minority in our society that has an original work upon their walls. A vanishingly small group have one of mine! So I must ask the question: Are these paintings being painted to go on walls or to be seen on a laptop screen? If they are never going on the wall then you might as well paint them on the same reused bit of board and save money and space! I am actually considering this for plein air sketches and ho hum studio ones. Certainly I could paint on both sides of the board.<\/p>\n

The question still bugs me. Am I painting for people’s walls or laptop screens? Because if it is the latter then I might go about it differently. I could for example re work them on the computer. I already do this to decide how to make changes to paintings. I scan it in and try out things before committing myself to paint. With over all glazes especially this is a great boon. Would people care? I would feel honour bound to make the process clear. Painters would generally disapprove perhaps. This is not, I might add, a course I intend to take I am just thinking it through. I cannot abide the idea that I am doing all this work just to please myself. I get pleasure from the process of course or at least it keeps me sane,\u00a0however I equally loathe the idea that I just do it for therapy.<\/p>\n

There is the element of being noticed, it is nice to be noticed. Though maybe few would admit it a hundred or so Facebook “likes” bring a certain warm feeling. We most\u00a0of us, if not crave, at least enjoy attention for ourselves and what we do. We call this fame I suppose though that is usually now reserved for the moment when the searchlight of organised media picks one out from the crowd. Do we secretly hope that might happen? I don’t think I do, but I suppose a small bit of me might like the idea. We are in our society almost\u00a0all brought up with the idea of success and “making it”.<\/p>\n

I often consider the world of music making in relation to painting. I really do make music for therapy. I don’t play for others it is something for me. Also a tune played is in the air for a moment then gone leaving no trace. With paintings the evidence of our creativity takes concrete form to haunt our future. Part of me wants to just paint away and not worry my little head about such things. Another part wants this skill I have invested so much of myself into to survive and spread and there is no better way of doing that than by example.<\/p>\n

Another area I consider is history. If I look back then I see almost\u00a0no examples\u00a0of making beautiful things being\u00a0done purely for the pleasure of the maker. That the craftsperson relished the making might be true, but it is the desires of others to own that drives the process. It is hard to pinpoint when the change in the primary artist’s intent changed from the satisfaction of others to the satisfaction of self. Slowly over a fair span of time. France with the mostly leisured gentlemen who liked to paint overblown historical subjects in opulent studios is perhaps the beginning. Then there came a prolonged tussle with the technical aspects of the nature of an image. The impressionists considered how we see, and then moved on to from where and what aspect we might see, then inevitably to why we see. Which it now seems is a dead end as there is no plausible hope of any hint of an answer or even any halfway interesting\u00a0way of framing the question.<\/p>\n

When I stopped doing useful paid work I did so with an excitement for getting all the things I had not had time for done. All those pictures I had imagined, all those accomplishments I coveted, but had not had time to learn. To put to use the skills already attained over many years of pleasing others to my own purpose. Like all dreams after a while the reality must be assessed. I am making progress, I am enjoying the process, I am not loosing momentum or interest. All plusses so far. It has however opened up some questions I have few answers for. I have settled on the world about me as my subject. Not a conscious decision, just that having decided to make representational paintings they must be of something. I had to choice between imagination or actuality and perhaps surprisingly even to myself I seem to have chosen the latter. Odd since I have spent 40 or more years doing mostly the imagination part. What is strange is that it plays almost no part in what I do now. As a young man I dreamt of painting fey maidens, castles and dragons, but now older, if not wiser, I paint people, houses, hills and trees.<\/p>\n

Well, no answers I fear. Just a feeling that I may be\u00a0missing something obvious that I should be seeing. One thing is becoming clear, the process of displaying what has been produced takes up far more time than the production itself. This is not a complaint as I feel doing so is an integral and inseparable part of the whole activity. It is more that I am irritated that, despite it being quite obvious given even a moments thought, I had not properly anticipated the fact.<\/p>\n

Well this has been a while between posts as the show mentioned above is now sorted and at the Gallery on the Square<\/a> in Poundbury until the 19th October. It has also meant not much painting had been done either. Below is a snap of the show.<\/p>\n

 <\/p>\n

\"Gallery,<\/a><\/p>\n

It was great to see all my stuff hung in one space and am very pleased with the result. A picture sold on the preview which is heartening!<\/p>\n

I’ll start this post with a few\u00a0of duff oils!<\/p>\n

 <\/p>\n

\"Kingston,<\/a><\/p>\n

Well this one isn’t too bad. Difficult light that couldn’t decide whether to be dull or bright. It actually looks much better to me now than when I painted it which shows how mutable and unreliable the artist’s own view of their work is! This is the riverside park in Kingston upon Thames. 10in b y 8in Oils.<\/p>\n

 <\/p>\n

\"Kingston<\/a><\/p>\n

The day turned really dull so I drew the market square in Kingston which is still quite pleasant. Only 2 things held me back… I had forgotten my pens… a nearby Rymans supplied some nasty felt tips and a seemingly endless supply of garrulous drunks clutching tins of Tenants Super Lager! It was also preparing to rain which is why this is so frantically scribbled.<\/p>\n

 <\/p>\n

\"Thames,<\/a><\/p>\n

This vantage had the advantage of being under a dense tree so the rain could not get at me. I was accompanied by several Wappers as it was aWapping Group day, we all gave up and went to the pub in the end as the rain got really determined.<\/p>\n

 <\/p>\n

\"Richmond<\/a><\/p>\n

This is the much painted view from Richmond Hill. It is a wonderful sight with the curve of the river. I got into a bit of a mess with this but I think I can still make it work. The building needs knocking back so it does not compete with the river. The sky is a write off and needs repainting. As I finished some lovely dashes of sunlight made their way across the landscape so one of these should finish the job! The board was an old one that was very smooth which really does not suit my style. I need the drag on the brush and it also means that dry brushing is not an option which is quite limiting. 12in by 16in oils.<\/p>\n

 <\/p>\n

\"Thames,<\/a><\/p>\n

It was a relief to get on to this old canvas board! The day had changed so much it was a completely different scene. I did this very quickly no more than 20min. 10in by 8in oils.<\/p>\n

 <\/p>\n

\"Mudeford,<\/a><\/p>\n

A very quick sketch of people crabbing at Mudeford near Christchurch in Dorset. I bashed this in very quickly so lots wrong. I got some great photos as the light came round though so this sketch will be invaluable when I do the studio painting I have planned. 10in by 12in Oils.<\/p>\n

 <\/p>\n

\"Mudeford,<\/a><\/p>\n

The day went flat on us but I enjoyed painting this on a tiny 10in by 5in off cut of board. Hard to know what to do with such sketches I have so many of them now.<\/p>\n

 <\/p>\n

\"London,<\/a><\/p>\n

This started as a working sketch for a painting, but it got distinctly out of hand! Tremendous fun to draw. I had to take great care of the tones in the distance. Something easy in paint but hard in pen and ink. Cannon St towards St Pauls. Pen and Ink 12in by 10in.<\/p>\n

 <\/p>\n

\"Wooland,<\/a><\/p>\n

This is near Wooland in Dorset. I only got a pencil sketch done on site as what appeared to be a quiet lane was actually a mad race track. I was drawing from infront of my car which was in a\u00a0passing place so I felt very exposed! For the best in the end as the inking was quite laborious with all those darks. It is important with pen and ink not to completely cover the paper when doing dark areas. Little bits of paper add sparkle that is easily lost. It is possible to use solid blacks but they are compositionally very strong so care is needed. I usually apply them with a brush rather than the pen. If I was to use that method here I would use it on the car which has the largest area of solid black. 9in by 12in pen and ink.<\/p>\n

Share this:<\/h3>