Wednesday, 3 February 2016

PAINT: Musings on "messiness"

I've just started reading "What Painting Is" by James Elkins and (for some reason) was drawn immediately to the Chapter entitled "The studio as a kind of psychosis". Started to smile out loud when I read this bit as it is SO TRUE:


"Sooner or later every one of a painter's possessions will get stained. First to go are the studio clothes and the old sneakers that get the full shower of paint every day. Next are the painter's favourite books, the ones that have to be consulted in the studio. Then come the better clothes, one after another as they are worn just once in the studio and end up with the inevitable stain. The last object to be stained is often the living room couch, the one place where it is possible to relax in comfort and forget the studio. When the couch is stained, the painter has become a different creature from ordinary people, and there is no turning back."


Image result for james elkins what painting isWell, so far my two winter coats, my two best handbags, several pairs of "good jeans", a brand new white T shirt (particularly sad!), my nice pink woolly hat, my mobile phone, my ishuffle, and my new leather purse (Christmas present from my Mum) have all gone this way. So far the living room couch has escaped (although I have not been examining it lately in close-up detail...). I thought it was just me being particularly messy/careless, but it seems it is an recognised condition for painters, so that's something at least!


Mr Elkins goes on:

 "No one who has not experienced that condition can understand the odd feeling which accompanies it. when every possession is marked with paint, it is like giving up civilian clothes for jail house issue ."

I SO empathise with that last point. Every time I turn up at the school gates wearing my "painting jeans" I feel like all the other Mums must think I'm some kind of trampy Mum (and not in the good way), who can't be bothered to keep herself clean, eeks. But every time I bow to that self-imposed pressure and put on my "good jeans" guess what happens........paint. And there they go.

 

Wednesday, 20 January 2016

Forest Walk painting - Golspie Waterfall boardwalk

Last summer I went up to Brora in Sutherland (in the Scottish Highlands) with my family for a few days. Spectacular coastal scenery - loved it there. Even more fortuitous, we lucked out with the weather and were able to do lots of outdoorsy stuff, including a woodland walk at the village of Golspie, to view their lovely waterfall. To get to the waterfall you have to follow a little boardwalk path through some woods and it was a really spellbinding atmosphere. There was no-one else there that day and it felt like its own little world.

I wanted to try and capture the feeling of the place in paint. I started with this little study, 30 x 30cm, water-based oil on board.



I've been working on a larger version for several weeks now and here it is in it's current state, which I think is finished (I'll leave it to the side for a while and then go back in a month or so and see if I think it needs any further adjustments).


                                              Bridge Walk                                       


The final painting is 1m x 1m, acrylic (underlayers) and water-based oil (upper layers), on canvas. 

 

Monday, 11 January 2016

Lots of new paintings!

Well, I've been pretty busy at art college in the last few months, making lots of new paintings. I have this week finished putting together my own website to showcase my work more easily. Please have a look at www.sheilachapmanart.com.

Also this painting, "Wandering Girl", has been pre-selected for the upcoming Visual Arts Scotland  open exhibition Converge 2016  #VAS2016 which is exciting.




Wednesday, 26 August 2015

Girl in a Mangrove Forest

Going back to Edinburgh Art College in a couple of weeks, for my final year (eeks!). Will be doing the degree show next year, which is exciting. Been thinking about ideas for new paintings, sticking with the theme of "figures in the landscape"for now. Further to my travels to the Florida Everglades earlier in the year, I am still feeling inspired by the mangrove forest we kayaked through and the feeling of being in right among such an amazing natural phenomenon.

I did the below watercolour painting for my current show "Paperwork 2" , in the Edinburgh Fringe. (It's now sold, yeah!), but am thinking about some larger acrylic paintings inspired by the mangroves.



"Coming through the Mangroves"
(watercolour, acrylic ink & gouache)


Been working on a little drawing this week, of my youngest daughter when we were in a mangrove forest next to a small beach. I like this theme - it's kind of a metaphor for the challenge of navigating through life. Here's how it took shape - starting with a sheet of watercolour paper on which I dropped and sprayed some shades of green watercolour. I then drew on top with a black fineliner and also some black ink applied with a small stick and a brush.



Finally finished it off with some white ink applied with a drawing nib, and some white gouache (and blue watercolour pencil) on the T-shirt, to make it sing out.



"Girl in a Mangrove Forest"
(watercolour, pencil, ink, gouache)


I can see possibilities for a larger painting. Watch this space...

(UPDATE 2016 - I made a large body of work in late 2015 stemming from this little study: please have a look on my website at www.sheilachapmanart.com to see final paintings!)

Wednesday, 19 August 2015

Hanging the "Paperwork 2" show, Edinburgh Festival Fringe, 2015

Today I've been busy hanging the latest Fringe Art Exhibition I'm taking part in, with three artists colleagues Marion Barron, Ruth Thomas & Trevor Davies. This is our third show in the annual Edinburgh Festival Fringe.  Hanging is pretty hard work - physical, a lot of measuring/mental arithmetic, and trying not to fall out with each other over which piece should go where! Once we get a good final arrangement which shows off everyone's work in the best light, it is quite satisfying though. Here's hope the viewing public like it!

 
Ruth & Trevor sorting out some fixings
 

 
Marion, adjusting with spirit level 
(My trampoline drawing "Jump" visible on right)
 
 
 
Marion in the back room, arranging a mosaic style hang on one wall
 
 

 

Drawing Pelicans

As a belated follow-up to my June post regarding "Working in a Series", here is how piece of paper 4 in the series ended up - drew the pelicans on top of the painted background in white acrylic ink. I like the contrast this has created. I saw so many beautiful birds in the Florida Everglades in February this year and I love the way you can easily see pelicans floating around together on the sea there in the same way you see common or garden seagulls floating about in Scotland. 

This piece, unsurprisingly named "Pelicans", along with other works featuring in recent blog posts, will be on sale in the forthcoming Edinburgh Fringe show "Paperwork 2", at the Edinburgh Ski club premises, 2 Howe St, Edinburgh from 21st - 31st August 2015.





  

Tuesday, 30 June 2015

Paint Lab - Working in a Series

Decided to approach my next piece of work from a different starting point. Inspired by Lab No. 27 from the great little book "Paint Lab" by Deborah Forman, I tore a large sheet of Saunders Waterford watercolour paper into six roughly equal pieces and, inspired by a photo of Paul and the kids leaning off a jetty in the Florida Keys, gave myself 30 minutes to quickly work in acrylic to block in some compositions and colour schemes, using a limited palette of three or four colours.


 


Here's what I ended up with.

 
 
 
 
 

 
 
 
 
Over the next couple weeks I have been working on two or three of these further to develop them into small paintings. After a little while the third one above progressed to this stage:




After some more detailed work on the figure I ended up with this little picture:


   
In parallel I was also working on image 1 from the initial six studies. I first glazed the whole thing with a layer of  mid tone grey-blue through which I hoped the brighter colours would glow through in places. I then worked from dark to light to develop a three figure composition:




  After a bit more painstaking (!) work on the figures I felt the picture had reached resolution:




 
Looking back at the initial sketches it still always amazes me how these images evolve out of the paper and paint. It feels a bit like magic. I'm guessing other artists probably also get this feeling sometimes (on good days anyway!).  


Postscript
Initial sketch no.4 has a lovely velvety glowing colour in real life and rather than painting over it I'm planning on doing a white ink sketch of pelicans on top of it. Sketch 6 also evolved a bit further but did not entice me to finish itself (as yet). Maybe one day...