This is a portrait of my friend and fellow artist Tarique. Some of his paintings and ceramics can be found here. It was an interesting challenge painting his painting (which we used as the backdrop), and having to use a quite different palette.
I had a life drawing session with a new model last weekend. I want to start collecting material for a new series of paintings, where the model is set within a domestic environment, in natural poses; either relaxing, bathing or doing chores. It’s a return to a theme I worked on about ten years ago.
The sitting went well enough. As it turned out, we didn’t move out of the kitchen, as the light was so good in there.
I was recently clearing out my late Mum’s house, when I came across a self-portrait that I must have painted when an Art School – probably 1983-84. I don’t have any of my old student paintings, and so this is an interesting reminder of my old painting technique. I’ve shown it below along with my most recent self-portrait, to show the difference in styles.
I have three recent paintings on show at the Angel Christmas Fair this year.
The Angel Christmas Fair is an annual affordable art and design fair featuring the work of various artists and designers. The event will take place in December 2016 and will comprise all creative disciplines; painting, photography, illustration, fashion, textiles, jewellery, glass, ceramics and furniture.
I will be exhibiting a couple of painting at the Islington Art and Design Fair, held at Candid Arts Trust in central London. Below is a detail from one of the paintings.
The Islington Art and Design Fair is an established showcase for Artists and Designers to promote and sell their work in one of the largest independent contemporary art spaces in central London.
Preview night is on Friday 25th November, 5-9pm, open 26-27th November 11-6pm. Candid Arts Trust, 3 Torrens Street, London EC1V 1NQ
I will be showing five paintings at the forthcoming “The Nude” exhibition, at Candid Arts Trust. Amongst them will be my “Feast of Venus – A Re-imagining”, for its first excursion outside of my studio. It will be interesting to get some feedback on this particular piece, having worked on it for so long.
I’m looking forward to seeing them all on display together. Four of these paintings are the major works that I have been working on over the past year. Hanging them together, in a gallery environment, will help give me a clearer view of how my work has evolved.
Candid Arts have their gallery at 3 Torrens Street, London EC1V 1NQ. Preview night is on Thursday 29th September, 6-9pm. The exhibition is on from 30th September-9th October, open every day from 12-6pm.
Well, that was an experience. In the end, 900 people had visited Britannia Works, and most of them made their way up to our studio. Space Studios came good in the end, providing us with everything we needed to make the event happen. From what I heard from visitors, Britannia Works were judged to have put on a good show.
I made a mistake on Saturday, by trying to continue working on my Feast of Venus painting, and having it turned away from visitors. With no place to store it, I was reluctant to show it to people while far from complete. I changed my mind on Sunday, and it worked out well. It gave me an opportunity to discuss the meaning behind the painting, and why I’d spent so much time and money on this particular project.
Although it was a lot of hard work, the weekend was thoroughly enjoyable. It provided a great opportunity to discuss my work, and get feedback on my paintings. I learned a lot. I would like to thank everyone who visited our studio and made the event a success, and a special thank you to all those people who took the time to talk to us.
I will be showing my painting “Arrangement on Red Carpet” for the first time at the upcoming exhibition “SHE”, which will be held at 47/49 Tanner Street, London, on the 30th-31st July.
This show has been organised by Sweet’Art, who always do a great job at promoting their shows. Their website can be found here.
I shall be showing a couple of paintings at the forthcoming 24WA Studio Show in Southend on Sea, which opens at the end of May. Being an Estuary Fringe event, it will be free, and there is sure to be some live entertainment for the opening night.
Since moving into my London studio, I’ve mainly been using the studios at 24WA for my life drawing sittings, as it’s more comfortable for the models than a draughty Fish Island warehouse. But I worked on these two paintings there over the Christmas period, when I first moved in. They were started over a year ago, and I think they mark a defining moment in my art, when I set out to explore different ideas in my compositions, and introduced some classical elements into a few of them. The photos below just show details.
The 24WA Studio Show is an Estuary Fringe event.
“The Estuary Fringe was created with the aim of taking art back from the pretentious art elites who have somehow insinuated themselves into the borough, and hand it back to the local community, to everyone, where it belongs.
The first festival in June 2013 was incredibly successful. Organised in just 7 weeks with no money and no idea what we were letting ourselves in for, we were blown away by just how well it all went, so we have decided to keep doing it.”
So, I’ve been working with glazes this morning on one of my current paintings. When I finished, I thought that, instead of throwing away the leftover glaze and cleaning my palette, I would use it to try and finish this painting that has been lying around the studio for a long time now (I think I had the original sittings with the models in July 2013).
I do have a problem working on these older pieces. The sittings are usually from so long ago, that I can’t recall exactly what I had in mind as I directed the model. But most importantly, this painting belongs to a body of work that I was working on over a year ago. It’s only natural that my compositions and also my technique will have changed during this time.
At the moment, I have in my studio a collection of unfinished paintings; some of them started well over a year ago. Although anxious to resume work on my “Feast of Venus” project, I shall try and finish some of these pieces first. They are all important to me, and are only unfinished because of the wretched time I’ve had this past year in finding a suitable studio.