Inspired by the Moon: A Series of Summer Paintings part 1

''Rainfall Moon,' acrylic on canvas, 92 x 73 cm, 2020

As summer races by, I've felt incredibly inspired by several different experiences, alternating between abstraction and abstract figurative themes as paint suggested new approaches. One of the reasons I haven't posted for quite a while has been the intensity of my excitement and the momentum of working almost daily. 

The moon has often appeared as a theme over the years. As I love to walk at night, in the UK, Cyprus and other countries such as China, I have always found night to be full of mystery and open to boundless imagination. In Cyprus I often watched the moon as it rose luminous and green on the horizon and turned to pink, orange and finally yellow. Sometimes I've been surprised by a sudden view of the large Harvest moon behind some trees and I wanted to try to convey some of the magic I've felt. There's also something unseen, and a sense of the beyond, in particular beyond this planet, that the moon brings to mind for me. At a time of coronavirus and many global problems, watching the moon reminds me of the vastness of the universe and makes me question the meanings of our existence.

Light and the time of day often feature in my work and the moon theme gives me the chance to play with ideas about colour, calligraphic brush strokes and shapes. Some of the paintings focused on the developing interest in the process of making imagery and different ways to apply paint. Sometimes paint parallels light and the work veers towards abstraction.

The first painting is about the summer rain, of which we had little in the UK. I was thinking about the last warm colours as dusk fades to night and the rain streaming down, obscuring a landscape. It was painted with thin layers and was unplanned, the way I always work.

'Rainfall Moon,' (2) acrylic on canvas, 92 x 73 cm, 2020

This second painting is still in progress. I'm brightening the moon and tweaking a few other areas. I love this size of canvas, (and larger), and this painting is also quite layered with translucent and opaque paint. I layer paint until an image emerges and I feel transported to a new place. 

Here are a few more moon paintings, some more figurative based and some abstract.

'Moon, Mountains and Forest,' acrylic on canvas, 25 x 20 cm 2020

'Moonlit Terrain,' acrylic on canvas, 25 x 20 cm, 2020

'Lavender Moon,' acrylic and ink on canvas, 50 x 60 cm, 2019

'Moon Over Brighton,' acrylic on canvas, 30 x 23 cm, 2018

And two of the more abstract paintings in which I was thinking of the emotional experience and loving thick paint.

'Moonlit Landscape,' acrylic on canvas, 30 x 23 cm, 2019

'Scents of the Moon,' acrylic on canvas, 30 x 23 cm, 2020

This last one is about the delightful fragrance of summer which I often associate also with walking along the coast at night or through landscape. It's a fragrance that's quite hard to define but is slightly perfumed, sweet, and uplifting.

I will post more of my moon paintings this week and also some of the new landscape/abstracts I'm working on.

If you would like to see more of my new work, my website is:

https://www.fionastanbury.com/gallery_759043.html

Artists Working in Isolation: A Personal Experience

'Coastal Flooding,' oil on canvas, 30 x 23 cm

As lockdown eases a bit here in the UK, my anxiety has also eased a little though strangely my output of painting has not been affected. If anything, the 3 months of restrictions caused an even greater concentration on my painting and my 2020 album on my website is packed with new work made since March 23rd. The painting above was completed this week and reflects the gradually changing conditions in that I've picked up the threads on a past theme of climate change. Up till this moment I was focused on a series of collage and mixed media works which was largely directed by wanting to escape to new places or were reflections on the new territory we find ourselves in. Now these themes are alternating with painting on canvas again.

Most artists work in isolation much of the time but the main difference has been that we couldn't meet up or visit each other's studios and exhibitions. There have been many online events, discussions, and online exhibitions and we've had to find new ways to connect with our audience.

Materials take much longer to arrive at the moment so while making collage works on card I've been re-working unresolved paintings, some from a few years ago. For this post I'm showing a few of these plus a new painting made for a show in China later this year (which may end up being postponed).

'Garden of Light,' oil on canvas, 40 x 30 cm

I've also gone back to working with oil paint again after having spent these 3 months working with ink, acrylic, papers and gesso on card. 

'Paintscape,' oil on board, 37 x 47 cm

Finally, this medium sized painting was painted entirely in acrylic. Last August as a particpant at the 8th Beijing International Art Biennale I was one of 30 artists selected to go out sketching in the landscape near the mountains. It was a 90 minute journey and I worked with ink on paper. This painting is a composite of memories of my month's painting Fellowship at the Great Wall in 2016, 4 trips to China, and reflections on my visits which evolved into waterfalls of colour. The painting was also influenced by the many mixed media works I was creating. I could have chosen any of the viewpoints I sketched though none were close up views of mountains, but as I love mountains, and they symbolise journeys and I remember the long journey to the mountains at the Great Wall, this image grew from those layers of thought.

'Waterfalls of Colour,' acrylic on canvas, 93 x 78 cm

“UNESCO and MEADOWS artists against COVID-19”. An Online Exhibition, May 29th 2020

To give an idea about this exhibition I'm sharing a quote from the UNESCO website:

UNESCO Beirut Office partnered with MEADOWS (Mediterranean Endeavors Advancing Development Of Widespread Sustainability) NGO to reach out to artists worldwide and invite them to take the challenge to use visual arts as a powerful tool effecting relevant global issues through the intercultural dialogue. The concept created by Lena Kelekian, MEADOWS’  President and Founder, led to initiating the MASK ART creativity under lockdown with the patronage of UNESCO Beirut Office, under the topic of “UNESCO and MEADOWS artists against COVID-19”. 

250 Artists from 120 countries placed their artwork on a mask template and the result on the website is a stunning and diverse array of beautiful masks. It creates a positive image of mask wearing and I feel it represents taking some control over what is a really hard and tragic time in our existence. Here are some more masks...

Here is another description of the project taken from the UNESCO website which describes it better than I could:

'In these stricken times, while mitigating technical and slow internet problems, difficulties of social distancing and lockdown, communication was established with all the regional & national representatives, mobilizing every volunteer resource to transform the medical masks that instilled fear, such as stark reminders of the imminent danger of infection, into canvasses displaying strong creations of artists and their personal reaction to this pandemic crisis. The responses were highly creative. In some cases, we can find gloomy and morbid expressions of fear of the unknown but mostly they are expressions of hope and desire of a better and different tomorrow. Inside the short three weeks deadline – instead of the needed three months -, UNESCO Beirut and MEADOWS went through the process of selection albeit the language barriers and cultural differences, finding the common denominators of resilience between artists from all over continents.'

And the link - scroll down to see the many artworks:

https://en.unesco.org/news/mask-art-creativity-under-lockdown-unesco-beirut-meadows-artists-against-covid-19?fbclid=IwAR2DUGYLmvJURi5IrAQW2bIOsi_LMKDQykvkqviupEI00c5sKbCQS86f0gA

ART SAVES HUMANITY: My Work Is In Top 100 Artworks Of This International Virtual Exhibition

'Walking Towards a Shared Future,' acrylic and oil on canvas, 120 x 160 cm 2018

I submitted 2 paintings to this global online exhibition organised by the SeeMe team, as it says below:

'We asked artists to share their perspective on the human condition...

Art Saves Humanity will be a global virtual exhibition bringing together the SeeMe community, Sotheby's Institute and its global network, Community Access to the Arts, the 1KNetwork.org and artists from all over the world with other corporate sponsors.'

(quoted from their website)

The judges were Brendan Clecko, Christine Kuan, Marine Tanguy, Poppy Simpson, Ariel Adkins, Jerry Saltz and the Sotheby's team.

The theme was to be about hope and reflection during the pandemic.

While I did receive 2 emails informing me of the results of my 2 submissions, I had not during an exceptionally busy week opened them! So when the exhibition opened online on May 21st I went to see which paintings were in the Top 100 selected artists and as I scrolled along I came across my painting (above)! To have made the Top 100 was amazing! There was also a link to my website.

So then I opened the 2 emails. I found that both my paintings had been put in the top 100 but only one is shown. This is the other one.

'A Global Connection,' oil on canvas, 100 x 140 cm

The other wonderful thing to find out was that I'd won a signed copy of the new book by Jerry Saltz called How to be an Artist.  He was one of the judges. I'm really pleased about this!

Most of the time as an artist you work alone and there's very little to guide you through a vast terrain of bumps and unlit territory so it's nice to get some positive feedback.

This is the link to the website:

https://www.artsaveshumanity.com/artist-selection

(Scrolling along to the right or left brings up my art.)

Fiona Stanbury's Interview Featured in Art Habens Magazine, April 2020

'Night Gathering,' (3) acrylic on canvas, 20 x 25 cm

Recently I completed an interview for the international online art magazine, Art Habens. The questions they sent me were really insightful and interesting to answer and caused me much reflection. I ended up with 35 pages of text and images, one of the longest interviews published! I'm planning to print it up as a small catalogue.

This is the Link:

https://issuu.com/arthabens/docs/biennial.ed.xvii/190

And an image from the opening page of the magazine....

In the last few weeks I've been more busy than ever. Firstly, finishing 2 paintings for an exhibition in China later this year which I was invited to submit work to as a participant of the 8th Beijing International Art Biennale in August 2019. At that time 30 artists were taken into the landscape around Beijing and we made sketches which have been the inspiration for the artwork.

This is one of the paintings I made.

'Waterfalls of Colour,' acrylic on canvas, 85 x 65 cm

Since I last wrote I've been continuing with my Lockdown series which began during the 30 Works 30 Days global art project in April, mentioned previously. This forced me to use new materials as due to the pandemic my delivery of materials was delayed and has generated an ongoing series of mixed media works along with works on canvas. One of the new themes is based on night gatherings or what I have viewed sadly as a lack of night gatherings. The only time I feel a sense of community on the street where I live is when we all go out at 8pm on a Thursday evening to clap the NHS and carers and keyworkers. So the painting I'm posting today is one of my series remembering the life I used to see on the streets at night and the buzz of social interactions. This is one of an ongoing series.

30 Works 30 Days: End of an Artist Project Followed During Lockdown

'Where My Thoughts Wander,' acrylic, ink, pen, papers and gesso on card, 30 x 20 cm

This global project which had over 1000 artists from 42 countries ended on April 30th. You had to submit an artwork each day during April, and 5 or 6 artists were selected each day to have their works shown on the 12ocollective Instagram pages. The 12ocollective website ended up with over 18,000 artworks and I believe everyone completed this challenge for lockdown.

I had the following painting, made on DAY 21, displayed on the 12ocollective Instagram post for that day. I was really pleased to be chosen in amongst so many entries each day! This little painting was painted as a longing for street gatherings at night. My neighbourhood seems so quiet these days and the only time I become aware of any kind of community is when everyone comes out on a Thursday evening at 8pm to clap for the NHS, carers and keyworkers.

'Night Gathering,' acrylic and ink on card, 30 x 20 cm

As I mentioned in a previous post, my art materials were delayed in arriving and I was forced to use cardboard and card to make my paintings and collages. It turned out to be a positive restriction because it opened up a different way of working and seeing painting elements. I made a very large series of collages, in fact the mixed media works took over towards the end of the challenge. For this short post I'm including a few of the collages. I found working with mixed materials beneficial because limitations always force you to find new ways to assemble an image, and in particular I was thinking about edges, transitions between colours, brush strokes and patterns. This will now feed back into the large paintings on canvas.

'Mountain Route,' (3) acrylic, ink, gesso, papers on card, 30 x 20 cm

'Entering a New Land,' acrylic, rice paper, ink and gesso on card, 30 x 20 cm

''Wishing to Travel Far,' acrylic, rice paper, ink and gesso on card, 30 x 20 cm

More works will follow later this week or they can be seen on my artist website, the link is at the top right side of the blog page.

30 works 30 days: A Painting Every Day During April: Hope

'Landscape Reverie,' ink, acrylic and gesso on cardboard, 42 x 24 cm

In my previous post I mentioned lethargy. I have noticed that during this time of coronavirus it seems quite common and manifests itself in many ways. I have friends who simply can't paint at this time. There's no right or wrong way to deal with the deadly situation and constantly worsening news, and personally I find distraction in trying to extend my art practice each day. It helps me feel connected with the world by exploring my inner world, and colour always uplifts me. There may be external restrictions but my inner landscapes run free.

I'm posting a few of the recent paintings made this last week and which have been loaded to the thirty works website. I don't want to slacken because if you miss a day you are out! I'm not following the briefs, I'm using the challenge to create ideas for new work which I will start as soon as my new materials come though I don't know when they will be delivered. However, there is something to be gained by working on unusual materials such as cardboard. They make you re-think your process and of course working speedily brings its own insights whether they are recognising new territory or falling short of one's intention.

'Spring Marching Across Winter,' ink, gesso and acrylic on cardboard, 42 x 24 cm

These 3 on cardboard are suggesting ways I could work with oil paint on canvas. I'm quite excited because through doing this project I've cut some corners and found several new forms and ways of applying paint. 

'Spring Marching Across Winter' was inspired by my daily walks when I noticed the greys, browns and warm neutral colours of winter being gradually invaded by fresh, vibrant greens and the luscious colours of flowers. 'Invasion' is about the way that the structures and meanings we hold as permanent in our lives can be turned upside down in a moment. I liked the immediacy of these 3 paintings but may layer oil paint on future canvases while trying to keep to the spirit of these mixed media works.

'Invasion,' gesso, ink and acrylic on cardboard, 42 x 24 cm

My favourite is the first one because I feel it is more complete though the other 2 have prompts that can be extended when I work on canvas. It's such a good project because it generates energy and a sense of a positive link with the future. Working gives me a more balanced way to think about the current situation and gives me hope.

New Paintings and Keeping to Art Deadlines During Coronavirus

'A Global Connection,' oil and acrylic on canvas, 100 x 140 cm

During this exceptionally difficult and challenging time when our daily routines are drastically altered, I'm trying to keep a focus on my artwork and to stick to my deadlines. It's not easy because at times I lapse into a lethargy and become anxious. Then the 'What If?' keeps me awake at night. Last night neither my husband or I could sleep fully and at 6.30am we ended up eating some trifle!

Any minor feeling of illness sends your mind racing: Is this coronavirus? I've suffered from a really bad flu (6 weeks ago) that then went in to my ear and I had to have antibiotics, and any twinge of pain or health abnormality now instantly brings to mind 'Do I need to self-isolate?' Luckily, both my husband and I are coping and keeping our distance from people but it's hard because you have to keep alert to all the things you now can not do.

However, I was really pleased this week because in between doing the daily 30 works 30 days art challenge, I managed to finish a painting for a Biennale in China later this year. I only stretched my canvas in the second week of March, and it's a big one - 100 x 140 cm - and I never thought I'd get it finished and submitted by the deadline of April 15th! The last stages of this painting were really hard and even now I have to remind myself to stop finding things I could have tweaked. 

The theme of the Biennale was Home and Co-existence, and my idea was to paint a home situation in which people are reading newspapers each with a different current topic on the front. So there are the themes of nature, the world, relationships, and home. I've included animals, water, fruit, a teapot, homes, and a butterfly which is symbolic of the sharing of thoughts. The people are linked by the red chairs. 

My thought was that people co-exist, wherever they are, through this daily ritual and sharing of thoughts on current issues. I really enjoyed painting those newspaper fronts and the theme of newspaper readers stretches back to my time living in Cyprus when this was an ongoing series of oil paintings. I have extended the theme in this new painting not only in terms of the shapes and paint application but through the way I've depicted the abstracted forms on the newspapers. None of it was foreplanned; I always let the painting guide me.

I submitted the work about a week ago to an online form. It was actually very difficult to follow the instructions and took some time but I feel a sense of achievement that it's finally submitted. I hope it will be accepted!

This week I've been making a small painting every day for the daily challenge. I'm going to post some of them next. 

30 Works 30 Days Challenge, Pushing My Limits

'Paint Poem' (series) oil and acrylic on canvas 22 x 25 cm

I chose to take part in a 30 day painting challenge which has been organised by 12ocollective. We signed up to make 30 works across 30 days which I'm using as a tool to push through new ideas by trying out some different processes. If you fail to submit by midnight each day you are out of the challenge!

I work part time at the moment so fitting in this challenge along with work and making other artworks is stretching my day but I'm determined to finish. It helps also to take my mind off the worsening news about the coronavirus pandemic.

The first painting, on DAY ONE, is a small oil painting which I worked to a time limit. Since that first day I've been working with different mixed media, combining acrylic and ink on gesso on cardboard and rice paper layered on cardboard, with ink and acrylic. My main materials, stretchers to make canvases, will not arrive for a while so I'm having to work with whatever is around.

For this post I'm including a few of the paintings I've made so far. We are currently on DAY SEVEN. 

'Paint Poem,' (series) 22 x 27 cm, gesso, ink and acrylic on cardboard

'Social Distancing in the Park,' gesso, ink and acrylic on cardboard, 30 x 28 cm

'Paths in the Park,' acrylic and gesso on cardboard, 28 x 26 cm

More will follow!

Making Art During the Coronavirus: Normal Activities Can Create Hope

'The Sound of Colour: Fiona's Place,' acrylic on canvas, 93 x 72 cm

Since I last wrote over a month ago our daily life has changed drastically. A month ago the Coronavirus had not taken its pernicious hold on the UK; it seemed to be something that was only really affecting the rest of the world. 

The UK is now in lockdown since Monday night and like much of the world we have to completely reconsider how we do things daily. Some normal activities are no longer possible or restricted. Even today, on such a lovely sunny Spring day, my husband and I had to choose a route for a walk that was not overlong and decreased our contact with other people. To write this seems really strange and would have been unthinkable a month ago. At this point in time I'm wondering how much further these restrictions will have to go.

Some of my paintings, which featured people in physical or close contact, as in the painting below, now represent a time that we may not see for several months or longer. Imagery has ceased to have its usual values and certain imagery, both moving and still, has quickly taken a different, questionable meaning. Seeing videos of packed supermarkets with counters overflowing with fruit and vegetables in between News reports underlines how much has changed in a very short time. Similarly, adverts featuring holidays and gatherings of people on beaches or at parties now appear part of a past lifetime.

'Social Integration, Peace and Opening Up,' oil and acrylic on canvas, 100 x 140 cm (exhibited at the Dafen 1st International Oil Painting Biennale, 2018/19)

As artists we now find that exhibitions which were planned some time ago, gallery opportunities and our source of income has also been impacted on. Much is uncertain and several of my own exhibitions are now postponed. However, I've been selected for an interview for a high quality online art magazine called Art Habens which will be viewable in April and I'm busy writing answers to the interview questions. This sends a positive strand in to the future for me personally.

Personally I always feel I can keep going  through the positive impact of colour. My artwork inspires hope for the future and making it gives me a sense that life will return to normal at some point. It's a strong link with the future and I always believe in being optimistic.

At the same time, I'm exploring new ways to work as the art shops locally have closed and I'm not sure how long online art suppliers will continue to deliver materials. This has been a worry because I have several large paintings to make for exhibitions later this year. On the positive side, working with my collage series is still possible at this time as I have a large supply of cardboard, papers, paints and inks.  One of my favourite collages is the one below.

'B Went Missing In The Land,' mixed media on cardboard, 51 x 38 cm

People will keep continuing to find ways to feel as normal as they can. People will find ways to be inventive and to adapt to the new routine and life. One of the best things about modern technology is that whereas in World War 2 when they had only phones to contact one another, we have social media and can contact each other online, through Skype, through Messenger, and by sharing pictures and our thoughts. No one needs to feel alone, and there's always the phone if you don't have other means of contact. 

Every morning before I start to paint I view paintings on social media by my friends and it really lifts my mood. It was always part of my daily routine but now is more so. Art may be at the bottom of the list of things to buy right now when people are having to reduce visits to the supermarket, but online it can give joy to others and I've already been told by followers across social media that my artwork has lifted their mood. That's really warming to know during this time of social isolation. 

'The Sailor's Song,' acrylic on canvas, 50 x 60 cm

This last painting is about Hope. My father was in the Royal Navy and was a Commander with his own ship during the second World War. He used to tell me about the times he piloted a ship over 100 foot waves and dangerous moments navigating around icebergs. He also spoke about prayers to reach land safely when at sea in peril. This painting is about a rough sea in the evening, with high waves and rocks, and in the distance is the shoreline and safety. The boats are headed there.

Stay safe and well!

How Using Collage Can Suggest Creative Possibilities For A Painter.

'B Went Missing in the Land,' ink, gesso, acrylic, papers on cardboard, 48 x 36 cm

Recently I've begun using collage as a way to extend my working approach. Grappling with different materials allows you to question why you use certain elements in your work and to see ways you can simplify, substitute or drop aspects of your practice which perhaps are no longer relevant.

While my main focus is landscape, and some of my works are more landscape referenced than others, I feel the call of colour and shape pushing me to drop certain landscape references. Questions hang in the air every time I work on canvas or collage and I like that side of creating because I see painting as opening one's eyes to potential. 

'They Passed Many Trees on Their Way to the Mountains,' collaged canvas, ink on canvas, 35 x 45 cm

The examples I'm posting today show different ways of working with varied materials. While they are only a step in the process, they have been really helpful to me with thoughts about reassessing edges, shapes and ways of making marks. They have helped generate a bolder approach.

'Land Rhythms,' canvas, newspaper, ink, gesso and acrylic on cardboard, 24 x 13 cm

Things I want to think about in these works are: how to simplify; how colour and marks can suggest a place without constantly illustrating 'trees' or 'houses,' etc (not that this is wrong, just that for me right now something else is calling). I want a sense of 'air' in the work yet to explore how colour can be an entity in its own right. Perhaps this might even lead to more sculptural work.

'Rain Dance on My Patio,' rice paper, ink, acrylic on cardboard, 50 x 50 cm

Some of these use a lot of layered paper, as the example above shows, and some combine canvas on cardboard with inks and acrylics. Each approach tripped me up, made me re-evaluate the way I think about the picture arena and what I want or don't want.

'Lemba Evening,' (series) painted canvas, rice paper, acrylic, gesso on cardboard

With some of the works it was not possible, due to the nature of the materials, to make too many changes. However, I feel that this is a good strand to follow while also painting on canvas because the combinations of materials really force you to focus and some of the 'accidents' suggest fresher directions.

'Untitled,' paper, ink, canvas on canvas, 30 x 30 cm

More to follow.

Painting About Light in Cyprus and the UK: An Artist's Thoughts.

'Fiona's Final Visit to Burrswood,' acrylic on canvas, 92 x 72 cm

I'm posting a few new pieces of work.

The above painting was inspired by my final visit to Burrswood on December 2nd. As I have mentioned in previous posts, this was one of my favourite places when I used to paint in situ, and I painted at this place over a 9 year period in all weathers. Now I tend to abstract from the experiences of seeing the light change, walking along many paths around lakes with distant vistas visible through the trees. Always at the end of my painting session I'd walk back out through the forest as the light faded.

During my last visit I left at dusk. There was a warm, colourful light behind the trees to the west and the plaintive sound of the birds followed me out through the forest. This painting is still being considered but my idea was to present myself in nature - naked, authentic to the spiritual experience - as the light faded. There's a suggestion of a chessboard on the distant hills because the random event of the closure of a place that had been open to the public for 70 years was very unexpected and seemed to echo the sometimes random events in people's lives.  I wanted to convey light and to evoke a place but there are parts of the painting I'd like to work on further.

'Cyprus Dusk,' acrylic on canvas, 22 x 30 cm

This is another from my Cyprus Evening series. They are really about an exploration of colour as a parallel for light. I've witnessed the fading evening light in Cyprus over 36 years. It's usually fleeting but there's a moment when objects - houses, Carob trees, paths - melt in to an all pervading colourful light, which saturates the land, with orange, yellow and pink, and this sense of time and light was my main focus.

'Spring Energies,' acrylic on panel, 25 x 18 cm

Finally, this was what I call a 'spin-off' painting which was made during working between other paintings. Spin-off paintings often emerge from an accumulation of ideas that seem to flow off the brush on to the support, usually when my mind is buzzing with expressive possibilities from previous works. I'd just stopped working on 2 other larger canvases and I looked out of my window to see the sun shining - a rare occurence this winter - and began to think of Spring. There's a time during early Spring when the light brightens and you can feel the energies in the breezes. My aim was to catch a sense of movement and light. 

An Artist's Ideas and Inspiration Going Forwards in to 2020

'Lemba Dusk,' acrylic on canvas, 30 x 22 cm

My first post of 2020! I'm going to write about some of my painting inspiration and potential 2020 exhibitions.

This has been my first chance to write because I've been busy submitting work for 3 opportunities so far this year; one in Germany, one in Bangkok, and one in the UK. These have been quite complex submissions and some have required several PDF documents, long descriptions of past projects and numerous image files. This is the life of an artist; juggling making the artwork along with seeking out opportunities and applying to them!

'Dusk Birdsong, Winter,' acrylic on canvas, 30 x 22 cm

Currently I'm applying to 3 more opportunities and one painting residency. There are numerous opportunities out there on the internet, or if you sign up to newsletters, and the main limits are how much work do you have, do you have time to paint something for a particular theme, and how much does it cost?  

I feel that certain opportunities here in the UK are very exclusive - they say they are also for unknown artists but when you see who is selected you realise that they already had some artists in mind, either known through various connections or whose father is a well known artist. A little research backed up my thoughts on this when I found that a so-called unknown artist who was picked for a group exhibition in London was already many months earlier being 'followed' on social media and commented on by the 'hosts.'  It is certainly not an equal playing field: although I've exhibited internationally for some years now I've never been able to get a certain local news/arts publication to write about my participation! So much depends on who you know and who they wish to promote!

So far this year I've not done as much work as I'd hoped but today I've begun stretching one of several canvases. I'm back to working with oil again, though some of the posted work is acrylic.

Summit,' oil and acrylic on canvas, 30 x 22 cm

The posted paintings:

1. 'Lemba Dusk' is about that magical moment in Cyprus when dusk dissolves recognisable forms into a haze of sunset colour. As I mentioned in my last post, I've been inspired by memories of coastal sunsets in Paphos and the way the land and sky become one colour!  I've watched these sunsets many times and this painting is about the small buildings, vegetation and various elements melting in to the warm colours of dusk.

2. 'Dusk Birdsong, Winter' is about the melancholy sound of winter birdsong. I've listened to it many times while I've walked back out through the forest at Burrswood when the sky to the west blazed with the last warm light and the shrill, plaintive notes of the birdsong seemed to hold an anxiety about whether the light would come back. I chose colours with references to light, and the pure colour touches are my idea of birdsong notes cutting through the fading light.

3. 'Summit' is a painting which was different to the other two in that I had no theme in mind. The summit refers to the accumulations of paint going upwards as I struggled to find a form for the paint but it could also be a landscape.

More to be posted soon.