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.

The new Mark Rothko Centre, Daugavpils. (part two) April 24th - The Opening

Shadows across the City

Mark Rothko was born in Dvinsk (then part of the Russian Empire) in 1903. He moved to the USA when he was ten. After the Russian revolution of 1917, Dvinsk became Daugavpils, the second largest city in the new Latvia.

I woke up to a glorious, panoramic view of the city square, and park beyond. The swirling clouds cast deep blue stripes across the buildings and trees, and I wished I had time to paint this dramatic scene. I went up to the 10th floor restaurant, hoping to find some of the other artists there, but there were no familiar faces. I took full advantage of the huge array of cooked food, and cereals, and drank several cups of coffee. I wrapped some slices of the tasty dark brown Rye bread for lunch later, and tried to work out which roads would take me to the Centre. I was told it would take about 30 minutes to walk there.

I stepped out of the hotel and into strong, icy breezes. It was a lovely walk. The sun illuminated the golds in the long, dead grasses, and gilded skeletal trees. Golds and copper contrasted against the brilliant blue patches of sky. As clouds raced across the sky, I wondered if the day would be spoilt by rain.

The Church behind the Hotel

It was quite a long walk, and I was shivering by the time I reached the old Fortress. The river Daugava was almost level with the surrounding land, and there was some flooding in places.

Flooding near the Fortress

The Rothko Centre is within the walls of the old Fortress. I arrived to find many technicians setting up stages and lighting for the performances, and people running everywhere. One of the organisers remembered me from the Residency, and took me to find Lars Strandh, one of my friends from the Residency. We found the other artists, and also my ex Tutor, Peter Griffin (who had an exhibition of his work in the Centre) and we all went for lunch in the Centre's restaurant. As usual, the soup was brilliant, and we had some chicken wrapped in cheese, and salad.

Left to Right: Kristina, Peter, Dillwyn and Lars

A conference was going on, but we spent the rest of the day looking around the Centre and catching up on our news. Then at about 5pm people began to gather outside the Centre, for the performance and speeches. I stood on the stairs that lead down from the second floor, to get a good view.

The Opening began with a performance of dance during which the dancers painted some stands with bright daubs of colour. 
 

After this, the speeches began. Both Kate Rothko, (below) and Christopher Rothko gave speeches about their father and the Centre. There was a sense that Mark Rothko's paintings had 'come home.'

Then everyone went inside, though there were so many people that security men let us in in small groups. The highlight in the Centre is the Rothko room, which contains 6 original paintings, loaned by his children.

The Mark Rothko Centre

This is me in one of the halls showcasing work by some of the resident artists. Unfortunately my work was not on show, though I was told later by one of the Directors that my large painting will be going to an International Arts Festival in Vietbsk, Belarus, in the summer

There was a wonderful buffet meal in the restaurant - but I was so busy taking photographs, and chatting, that by the time I went to the table, a few bread rolls remained! I met Kate Rothko, her friends, and several gallery Directors and Curators.

From left to Right: Lars, me, Marion, Rene.

At about 8pm, a friend called me outside to see the concert, which was fantastic - a Finnish accordian player - and the Centre was beautifully spotlit all around

It was a great evening, and I walked back to the city centre with Lars and two of the Committee members, under a full moon, near 11.30pm

The Moon over the Centre

(click on images for larger view)

The new Daugavpils Mark Rothko Centre. (part one)

The view from my room, at the Park Hotel Latgola

I flew to Latvia from Gatwick airport on April 23rd. It was a smooth flight, and as we descended through the clouds, I marvelled again at the view that inspired my largest painting, 'Flying into Riga Airport,' made during my September residency. Dark blocks of skeletal trees circled colourful houses, a few industrial chimneys, and expanses of golden, tundra-like landscape. We landed under stormy skies, and my nerves for the long journey ahead began!

Having only hand luggage, I was out of the airport by 4pm. I queued for the airport Shuttle, and after 15 minutes it arrived, and I had a speedy journey into Riga, then a long tour around the city as people were dropped off at various hotels. Riga's narrow streets are wonderful, and crammed with colourful old buildings, cafes and shops. Finally, the Shuttle left me at the main Riga bus terminal. It looked huge - I could see at least 25 bus stands! I went into the ticket office and bought my ticket for Daugavpils. Everything was so efficient, and the ticket very cheap, at around 6 Lats. The only thing that let it down was the toilets, which were very dirty.

I went to queue at stand 7. The bus was due to leave at 6.05pm. My nerves were rattled when a beggar girl who was pestering people for money began to hit the old couple next to me, and wouldn't go away. With great relief, I boarded the double-decker, and climbed up on to the top floor. It was very comfortable, with tables, TV, and drinks for purchase. I was amazed how full the bus became, and we left exactly at 6.05pm. We meandered through the city under rather gloomy skies, and in heavy traffic. I envisaged my comfy hotel room with some longing, as a four hour bus journey loomed ahead. But it was really wonderful, and the landscape incredibly inspiring! For most of the journey, we were next to the very wide river Daugava, which was flanked by steely-purple blocks of trees, and lined with snow. Ice still floated on the formidably grey water. The landscape was predominantly ochre, brown-grey and gold, with slashes of almost black fields, and small, wooden houses scattered across it like dice. There were no fences, just a sense of land going on forever, and a huge sky. Here and there were patches of melting snow, and the river had overflowed in many places, flooding the land. At several points, our bus was only a few feet above the water. I listened to music, and ate my sandwiches.

We stopped twice in villlages, to go to a very basic toilet. Then by about the third hour, I began to search desperately for signs we were getting near to Daugavpils. I saw a huge red-lit mast, protruding high above a pine forest, and thought, 'This is it, that mast is in the city,' but it turned out not to be! Darkness set in at about 9pm, and an enormous, golden moon followed me on my side of the bus. Finally I recognised the thick pine forests, and a roundabout near the city. We passed the Mark Rothko Centre as we entered the city, and it was beautifully spot-lit. Then thankfully, the bus stopped just a few feet from my hotel, at around 9.50pm. I stepped into the hotel, and the girl behind the reception desk said, 'Oh hello Fiona!' Instantly, I relaxed.

My room was on the 7th floor, overlooking the main square. It was a much better room than the one I had during the residency. I took a shower, ate some more sandwiches, and put on the Euronews. My husband called me, very relieved I'd arrived safely. I went to bed around 1.am, feeling quite excited about seeing my artist friends and the new Centre. The Opening was the next day.

My room.





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.)



The new Mark Rothko Centre, Daugavpils, Latvia

The Mark Rothko Centre, technicians setting up the stage for the Opening, 24th April

It seems a long time ago now, but it's only a week since I flew to Latvia. Exactly a week ago, I'd arrived at Riga airport. Today I'm going to include a few photos from the event, and later this week I'll describe fully the whole evening, and the fabulous new Centre.

The Speeches: Christopher Rothko

The Buffet meal after the Speeches.

In front of one of the slide shows, in the Centre

It was a truly memorable experience!  I met several of the artists who were on the residency with me, and some from previous residencies. The Centre is amazing, and you could spend days there, looking at the slide shows, the excellent Rothko reproductions, the library, and the six original paintings on loan from Rothko's children, Kate and Christopher. They were both at the Opening. All painting residents' artwork is now in the Centre's collection, and some were on display. More to follow!

Watching and Waiting

'Watching and Waiting,' oil and acrylic on canvas, 60 x 45cm

In 48 hours I'll be in Latvia, on the bus travelling to Daugavpils. It takes about three and a half hours so I expect to arrive around 10pm, and then the next day, Wednesday 24th April, I'll be attending the Grand Opening of the New Mark Rothko Centre. I'm very excited, as there are already a number of exhibitions in the Centre, and I'm hoping to see my own paintings in the Centre, along with work by the other residents (and to post photos on my return). As yet, I'm only certain that two of the other residents will be there. I will miss the group a lot but it will be lovely to see the Committee members, Farida and Maris again.

I'm back on Friday evening, and then it's back to work! I finished 3 canvases this week, one is being 'considered' for further changes, and I began a new canvas called 'Paphos Walkway,' a vertical format which has thrown up some entirely new elements and imagery, so something exciting to return to. I've also been drawing like crazy, and have numerous spontaneously calligraphic compostions to evolve.

It's been a busy time. I delivered my painting to the Royal Academy on April 11th. It was the first time I didn't have to queue, and I was there in total for around 15 minutes! I'd spent ages the previous day neatening the edges of my painting, as it sits in a black 'box' frame, and hope that the painting may catch their attention. At the same time, I was anxiously waiting to hear if my submission for the Painting Center (New York) had arrived intact. I was really pleased to hear last week that the CD, application form, and payment reached the Center.

'After the Long Hard Winter, it was Time for a Picnic,' (3) oil and acrylic on canvas, 60 x 45cm

Old and New

'After the Long Hard Winter, it was Time for a Picnic.' Oil and acrylic on board, 30 x 45cm

Paintings don't always end up the way you expect! The above painting started as something else, but the band of white I was trying to 'fit' into the composition wouldn't accommodate my wishes. Sometimes it happens that forcing shapes is against the overall composition, so I had to give up trying to control everything, and  let the paint flow into its own identity. Any kind of insistence can be against your painting, as it can rule out other possibilities! I squeezed some tubes of paint onto the board, and began breaking the block, and as I was at the time thinking of sunshine and Picnics, it suddenly took this form. It's more abstract than my previous work, but I felt that the paint suggestions and title really worked. 

This way of working reminded me slightly of a painting from a couple of years ago, which I'm adding below.

'Terrain,' (Cyprus series) oil on canvas, 98 x 60cm

Again, the painting evolved structurally as I worked, and colours began to suggest worlds. This is mostly how I like to work, with paint and meanings overlapping.

The Easter holidays interrupted my work, as time became rather fragmented, but I have framed my painting to take up to the Royal Academy this Thursday, and submitted drawings to the Painting Center, New York. As I am on their Register of Artists, they email me about exhibition opportunities.  They want 'working drawings,' the kind that artists make either as compositional studies for a painting, or working out ideas for paintings. The brief was that these should not be finished works, just studies, and could include paint and colour. I often work from quick watercolours or pen drawings, either from my imagination or as a synthesis of something seen. My application took a long time, as the work had to be submitted on a CD, by post, and I'm praying that my fee (dollar notes) reaches the PC safely - I could find no other way to submit the fee, as they wouldn't accept electronic payments. Below are a couple of the preparatory drawings I submitted.  Competition will be huge but if you don't try, you don't get the chance!

'Study for Terrain,' gouache on watercolour paper, 11.7 x 8.3ins

'Study for Evolving,' gouache on paper, 11 x 8ins

'Study for City with Fountains,' pencil, felt tip and gouache on watercolour paper, 11 x 8ins
(Click on image for larger view)