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)



Overlap

In front of some of my paintings.

As I watch the Enthronement of the new Archbishop of Canterbury on the television, I am immediately thrust back in time to when I was an art student at Canterbury College of Art (as it was then known). As you get older, past and present often seem to overlap.  I recall vividly how I used to go to listen to the Evensong at the Cathedral most evenings, and watched the boy choir as their bell-like notes soared to the arched world above us. Sitting in the pew, or at the other end of the cathedral, by the stained glass windows, I felt that I became part of that wonderful, uplifting sound. It often overlapped with my painting concerns, because colours can echo the movement of musical notes, and I always hope that my colours will be uplifting. 

'The Wind Threw the Bags into the Trees,' (2)  oil and acrylic on board, 45 x 30cm





The Wind Threw the Bags into the Trees.

'The Wind Threw the Bags into the Trees.'  oil and acrylic, 61 x 45cm

It's been a week of mixed activities. I worked on 5 new paintings, 2 of which are finished (the above is one of those). I made more drawings, exploring different ideas for compositions combining abstract and figurative elements from my environment and imagination. These drawings really excite me as they are a new direction, and glimmer with possibilities.

I applied to a gallery in the US last week. This particular gallery is one I admire, as I love the work they show, and I thought mine might fit (an important consideration). Several of my Facebook friends show with this gallery, though I did not use their names when I applied. I emailed 9 images of my work, with my updated CV and Statement. The next day a reply came, which I am taking in a positive way, being a very positive person! He said the work was 'good and strong.' and that he was fully booked, and would keep me in mind if any openings came up. My initial disappointment was eased by the thought that generally galleries don't make nice comments unless they mean them - I've had enough abrupt, outright rejections to know this! I know that the examples of my work that I emailed were ones I felt GOOD about, and while I may or may not hear from him again, this was a positive position to have applied from.

'Storm over Nicosia,' black paint on paper, 8 x 11ins, 2013

I'm applying to the Painting Center's open exhibition (New York), as the theme is one I am currently engaged with. They want examples of 'working drawings,' ones that artists make to examine ideas - drawings that may lead to a finished painting, but may also never be seen. I have a month to photograph my drawings, and send the CD to the US. Of course, thousands of artists will apply, but it's worth a shot. I'm aiming in wider directions, hoping to widen my network and opportunities. In April, I will take my painting up to the Royal Academy, for another attempt at the Summer Show, and by April 3rd I should hear whether I have been selected for the Creekside Open.

'The Wind Blew the Bags into the Trees,' was inspired by one of those sudden visual impressions! On March 10th I went by bus to get some hardboard to paint on, my stock of canvases being finished. As I stood with the hardboard, waiting for the bus home, I noticed the skeletal trees opposite had plastic bags snagged on them. It was an icy, windy day, the bags were snagged randomly across the line, and it reminded me of musical notes, and at the same time was quite funny.
(Click on images for larger view.)

No Excuses!

'Eternal Dance,' oil and acrylic on board, 85 x 61cm

Most artists find that part of their practice includes some admin work, especially the kind that involves updating websites, adding new images, photographing new work (unless you are lucky enough to have a photographer) and submitting work to Open Exhibitions and galleries. It is one of those jobs you can easily put off, especially when unresolved canvases call to you! I couldn't exactly estimate how much time admin takes up weekly, but it is a necessary job. You have to create a public profile, as far as possible, and network, as well as producing the work! Today, being very dark, dank and dismal, was a perfect day for this job.

Today's painting reflects how I feel about the rhythms of life.