Preparing for June

My three paintings ready to be delivered to the Llewellyn Alexander gallery

June is going to be my busiest month of the year, apart from August, when I hope to be in my studio in China painting away all day, every day! Yesterday I delivered my three paintings to the Llewellyn Alexander gallery in London, for their wonderful 'Not The Royal Academy exhibition.' Work can be submitted initially by photograph (if you have had work rejected by the Royal Academy in the last 5 years), or by taking your rejected paintings from the RA straight to the Llewellyn Alexander gallery and receive their decision at once.

I sent photographs of my 3 paintings and all 3 were accepted! I box-framed them, as the photograph shows, and I was really pleased with the framing. The exhibition runs from June 7th to June 20th.

One of the three paintings, 'Calverley Park,' acrylic on canvas, 7.5 x 9.5 ins

 Right now I am preparing work to set up on Wednesday for the South East Open Studios, and only 2 days after that closes I will be setting up my stand at the Tunbridge Wells International Art Fair. Then when that ends, on June 26th, I have to get ready for China and sort out my visa, materials, travelling, etc. 

'Human Exchange,' watercolour and gouache on paper, 76 x 56 cm

This was painted partly to reference a poem and partly from some personal ideas. My local group of artists were all given a set of poems with the choice to illustrate one or several of them. I liked one called, 'We Three Tribes,' and this inspired some of the imagery in my painting. The poem paintings are to be shown at the forthcoming Tunbridge Wells International Art Fair. The painting, which is watercolour and gouache on 300gsm watercolour paper (76 x 56 cm) surprised me because I worked it as I went along, just as I did as a child. Sometimes I really love working from figures and though there was some light pencil drawing for the positions of the figures, I worked most of the painting just by intuition and wanted to overlap abstraction and figuration. I will update you on what happens!

My final news, which I am not at liberty to disclose fully, is that I have been selected as a participant on a painting programme! More about this much later in the year when I can disclose the full details.

Inundated!

'Fiona's World,' acrylic on canvas, 30 x 40 cm

There have been years when exhibition opportunities were less or I was rejected but this year I have found myself inunadated with opportunities and - as often happens to artists - it is now a case of making sure there is enough work to fill them all!

'Colour-World,' acrylic on canvas, 25 x 30 cm

Maybe it is luck from my Chinese astrological sign (I am the Year of the Monkey, and it is this year!) or perhaps my work just became better or fits the market better, but I now find myself with 4 exhibitions in June, a painting residency in China for the month of August, and another exhibition in Singapore in November. In June, I will have work at the Awe-Some Fenix gallery in Singapore, three paintings at the Llewellyn Alexander gallery (London) for the 'Not The Royal Academy' exhibition, and I am taking part in the South East Open Studios across Kent, and also will have work in the Tunbridge Wells International Art Fair. 

'Paint-Poem,' oil and acrylic on panel, 25 x 30 cm

In between organising work for these events, I am doing new work. Being an artist is much harder work than most people think because you have to juggle so much AND evolve your painting ideas, aiming always to improve your work. It takes a lot of focus and discipline.

'Fiona's World, 2,' acrylic on panel, 25 x 30 cm

Today I received an email that 'Fiona's World, 2,' has been chosen for the November exhibition at the Awe-some Fenix gallery in Singapore. It was only painted a week ago!

Three Exhibitions in June

Me with 'A Journey Through Paint,' oil and acrylic on canvas, 95 x 54cm (behind, right)

The Private View of 'Landscape - Urban/Rural,' at 'art gallery 110 camden road,' was on 14th May from 6 - 9pm. It was a wonderfully sunny evening and visitors spilled out onto the pavement, attracting further attention for the newly opened exhibition. I have four paintings in the show, with two more ready to hang later. The painting to the right behind me is the largest one I have in the show.

Me with 'Rape Seed Fields, Kent,' oil and acrylic on canvas, 40 x 30cm

I also have a couple of paintings in the exhibition that are slightly more landscape-referenced and this is one of them.

My husband Thanos with two of my abstracted landscapes - to his left - 'Seasonal Echoes,' (the orange-based landscape) and 'Reverie,' (below the orange painting) both oil and acrylic on canvas

For the first time, I will have work in three shows in June! Two paintings are going up to London for the NOT THE ROYAL ACADEMY EXHIBITION (Llewellyn Alexander gallery) this week, and the show opens on June 10th. The current show at 'art gallery 110 camden road' runs till June 29th. I have work going on show in the SEE Artists group show at Woods restaurant in Tunbridge Wells on June 4th.

New Work - New Opportunities

'A Journey Through Paint,' oil and acrylic on canvas, 95 x 54cm

My diary for this coming month is full. It is getting to the point where preparing work for shows, and doing all the admin work and website updates, social media updates, and all web-related, promotional admin is taking over from actual painting! But these two paintings are some of the recent work.

I have to deliver two paintings to the Llewellyn Alexander gallery (London) in May, for the NOT THE ROYAL ACADEMY EXHIBITION, and they are still not framed. I am showing some work at The Art Pull gallery, in Tunbridge Wells (Kent, UK), in the middle of May. I'm entering a portrait for a portrait exhibition, which is a long shot as it will be very competitive. I haven't painted a portrait for a while and it was a very interesting thing to do. Also I have several applications for exhibitions pending and I am still planning a show in Cyprus with a friend, though currently we are looking for a venue.

'Paphos Walk,' (2) acrylic on canvas, 60 x 50cm

My work is still hanging in Camden Quarter (Tunbridge Wells restaurant), and every time I walk past the bright colours catch my eye. I think they catch everyones' eyes as they walk by!

I have also made a few updates to my novel's details and hope to get on with the sequel soon. The link is:
http://www.amazon.co.uk/Jagged-Green-Line-Fiona-Stanbury-ebook/dp/B00IIOX92Q/ref=sr_1_1?s=digital-text&ie=UTF8&qid=1398699203&sr=1-1&keywords=fiona+stanbury

Pick Your Own Cotton

'Summer Remembered,' oil and acrylic on canvas, 70 x 50cm

My title is a phrase I saw online in an article about making your own opportunities. It is one I follow every day, as I know that no one will 'find' me, I have to keep sending out applications, keep networking, and gradually make my presence known. It's a powerful reminder that we can take our future and shape it how we want to.

I'm about to send off my application to a gallery in the US, and I'm caught up in a wonderful current of evolving ideas, which are spinning off painting after painting.  I need more canvases to let the ideas run across and blossom further. Two recent paintings should now be on display at the 'Not the Royal Academy' exhibition at the Llewellyn Alexander gallery in London.

Part Three of 'The Mark Rothko Centre, Daugavpils,' will follow soon.

Not The Royal Academy

'After the Long Hard Winter, it was Time for a Picnic,' (2) oil and acrylic, 45 x 30cm

It's almost a month since my return from Latvia, and I still haven't had the time to write about the new Rothko Centre, and my exciting trip. Interrruptions appeared in the form of emails, housework, galleries notifying me that I can go ahead and apply to them, hubby returning from Cyprus, and lots of paintings demanding to be finished. I also still haven't written my article for the JACKDAW, which has to be submitted by the end of May. Deadlines tear at my dreams!

Not wanting to have long lapses between my posts, I'm attaching a new painting, and will write about Latvia very soon!

'Paphos Joy,' oil and acrylic on canvas, 60 x 45cm

Yesterday I was called by the Llewellyn Alexander gallery (London) about their Not The Royal Academy Exhibition (an annual Salon Des Refuses, that runs at the same time as The Royal Academy Summer Exhibition). My painting above was rejected for inclusion in this exhibition, but the NTRA wants it, and a second painting. Today I had to rush the second painting (below) to the framer, as they have to be delivered next Wednesday.

'Summer Shadows.' oil and acrylic on canvas, 40 x 30cm

More painting materials arrived today by post, and I'm starting a new series of five canvases. Meanwhile, my application for a US gallery is almost completed. It's been particularly long and complicated, but worth

the extra effort as the gallery is one I really admire.

(Click on the images for a larger view.)



Potential.

Life is incredibly busy right now! My art agent is coming to select paintings for the Kings Hill Project on Wednesday. The selection will be awaiting approval from the people at KHP, and I hope my work ends up going on display. But it's one step nearer to exhibiting. It's also very positive as it means I will clear some space and have a place to start the large canvas I'm about to stretch up.
I have found two more galleries which are interested in viewing my paintings, so I will be preparing the images and my statement, and emailing them this week. I'm also submitting two paintings to the Cork Street Open exhibition, again an online submission. Last year I was turned down, but I feel more confident about the paintings I'm submitting this year. Of course, it all depends on the selectors.
Then at the end of this month I have to deliver my watercolour to the Llewellyn Alexander gallery in London, for the 'Not The Royal Academy Exhibition.'
I've also found out that I can publish my Cyprus novel on Kindle, once I have formatted it and prepared it digitally and met their requirements. I have tried to get my novel published, but nowadays Publishing Houses are not the only option. The internet has opened up many more opportunities for artists and writers. It has immense creative potential and means that there will be a wider range of talent on display.
So, I am approaching this week with a lot of optimism and energy.
('Square Choices,' oil and acrylic on canvas, 45cm by 45cm, 2012)

Ups and Downs

I'm used to delivering work personally to a gallery so it was a new experience on Tuesday to be packing 8 canvases for a show in Bristol. Though the canvases were small, (40cms by 30cms) it took at least an hour to bubblewrap them, and make sure they were sufficiently protected for the long journey. My work was selected for a 'Small Artworks' exhibition at the Nails Gallery, which is on for 3 weeks in June. For peace of mind, I insured my large package, which to my relief actually arrived intact.

Yesterday I delivered 2 paintings to the Llewellyn Alexander gallery, in London, for the NOT THE ROYAL ACADEMY exhibition. My work was selected from photos, though the gallery also takes works rejected by the selection committee for the Royal Academy Summer Show. I had entered a work for the Royal Academy Summer Show, and to my disappointment was turned down, but as it's known to be a lottery (with preference given to names, Academicians, established artists), I consoled myself with the acceptance to the other shows, and the very positive feedback I'm getting on Facebook for my paintings from internationally established artists. It's a hard route, strewn with rejections and criticism, and at moments like this your artist friends keep your spirits up. And of course, the sirens endlessly calling you to your personal artistic journey.......

(Blue painting: 'Paths.' 30cms by 40cms, Oil on canvas. Pink painting, 'Homage to Spring.' 40cms by 30cms, Oil on canvas.)

Emotional Cords

There comes a point when you have to detach from a painting. I have a natural tendency to obsess over my work so I'm quite grateful when I reach a state of detachment through outside forces. Often a friend or family member will say, 'That looks finished to me,' and I step back, drink a coffee, and try to view the painting as if I hadn't painted it. How many times has a friendly remark prevented me from over-working a picture! Sometimes turning it to the wall for a week has the same advantages.

As I prepared to deliver my latest commission, I realised with some relief that it was finished after all. Up until that moment of cutting the emotional umbilical cord, I can't enjoy the painting. Once it stands separately from me, it can go off into the world hopefully with the meaning that was intended. My 'Nicosia Balconies at Night,' held exactly the sense of place I'd wanted to convey.

Then the process begins all over again; the same searching, the same self-doubt that is the Artist's life. I'm working on 5 more canvases, of differing sizes, and the first rays of sunlight brought with them an invitation to put two painting in the Not The Royal Academy Summer Exhibition at the Llewellyn Alexander Gallery in London.

(Photos: Fiona with a large Turkish Baths canvas/A selection of recently completed works, and works in progress.)

Striped Coffee Cups

Yesterday was a red-circled date in my diary. It was the date my gallery was returning my paintings. My short reprieve had failed. The manager, Mr P, had kindly offered to drive the 9 canvases back to me from London, and I waited anxiously for the ring on the doorbell.

I'd prepared for his arrival, still hoping in vain to be seen in a good light. I'd scrubbed the striped coffee cups in preparation for our last coffee, I'd screwed the leg back onto the wobbly, mangled old coffee table, so it wouldn't collapse when we put our steaming cups on it. I'd even cleaned the bathroom, paying particular attention to the toilet.

Still feeling rather raw about being dumped by the gallery, I consoled myself with the thought that at least Mr P. would get to see my numerous large canvases, glowing splendidly on the walls. He'd never seen them, not that it would have made any difference as they were too large for the gallery. Surely he would, for the sake of our 2 year association, and out of protocol, drink a last coffee with me? He couldn't be planning to fling the work out of the car windows as he passed along my street?

Mr P. arrived at 11.15am. I wondered why he chose not to park in one of the spaces outside the block of flats, and instead stopped his car at an angle across the drive. 'Thanks so much for delivering them back to me,' I said. He asked, 'Do you want some help inside with these?' I said 'Yes, thanks very much,' but he shoved them up against the nearest wall faster than I could say, 'Aren't you coming in?' As he pushed a form at me to sign for the delivery, I asked 'Don't you want to come in for a coffee?' Sheepishly, he shook his head. I couldn't help myself - I blurted, 'But I was really hoping to show you the large works.' He merely said he was sorry they hadn't been able to sell more of my work. I said, 'You win some, you lose some. Anyway, I've got 3 shows in June.' His eyebrows raised, a look of surprise spread across his face. I wasn't going to end on a negative note!

I waited for a formal goodbye, but he got into his car. The encounter had taken all of 5 minutes. As I carried the works to the side door, I noticed Mr P. sitting in his car, perhaps watching, perhaps working out his homeward route. I waved as he turned the car, and he was gone.

As I struggled with the canvases down the stairs into my basement flat, I felt an untidy medley of emotions. Sadness that I would never see Mr P. and his lovely gallery again. Panic that no one might ever give me another chance to be part of a 'stable' of artists at their gallery. And defiance! I unpacked the works. They looked better than they should for rejects. The positive thing, I told myself was that I had more than enough work for the 3 forthcoming shows.

Now a day later, it's all slipped into perspective. That was not the only gallery, nor are they the yardstick of quality. The art market is a complex thing, even more so in these times of financial crisis. Plus there's the artist's dilemma. Do you make work that follows your vision, hoping it fits the current trends, or do you doctor your work to fit what is wanted? I could do any number of photographic, realist paintings (I used to live from doing portraits in Cyprus), but the lure of composing with colour beckons. I'm not going to adopt an 'I'm a misunderstood artist' stance, just hope that soon I will find a gallery where my work fits.

As for June, I can't wait for the 3 shows. First is my solo show here, in a new space called 'The Big White Wall.' Then there's the 'Not the Royal Academy,' at the Llewellyn Alexander. I had work chosen for that from photos. Finally, I have work going into a group show at the Brick Lane gallery. Will anything sell?

Paintings: 'Sussex Journey,' (oil on board), 'Spring landscape,' (oil on canvas), 'Spring Stripes,' )oil on canvas.