Jackie Adshead

Moving on

2011-09-27T13:04:00.000+01:00

I've moved my blog onto my new website.

So you can now find it at www.jackieadshead.co.uk/blog

Hope to see you there!

The unique gift of paper, in a very sexy but elegant manner

2011-09-21T12:22:00.000+01:00

She came to collect her drawing yesterday, as we'd agreed, and to see it for the first time. Up to then she'd only seen it as an email attachment on her blackberry but was very pleased with it she told me over the phone.

I welcomed her in to the house, out of the steadily pouring rain, and ushered her through to my studio and went through my work process as I showed her the photos I'd used as my source material, two of them she had sent to me set in her bedroom, and the other two were ones I'd taken whilst she was with me in my bedroom a couple of weeks ago (since that was the best setting in my house to use as the basis for drawing her in real life), and then I showed her the drawing I had done from them. It looks like a simple drawing, but it was actually difficult to pull all the information together to make it look simple! But I suppose that's the secret to good art, when something looks appealingly simple, regardless of whether it was to create it or not.

I unveiled it for her, and watched her face as she viewed herself and the picture I had created for her. And watched her as she looked and looked at it, drinking in the image of herself that I had created for her to give to the man she loves. She bit her lower lip as she looked at it, and said "Do you think he'll like it?" and I smiled at her, and said "Why wouldn't he...?" and then went on to say in more depth "It's a lovely image, regardless of who is in the picture. Most men would find this a very appealing picture, because of the way you're standing in it, the nape of the neck is very sexy when its revealed like that by lifting the hair up, its a lovely drawing, and the two versions of you are pulled together through the use of the mirror, its set in your bedroom, infront of your mirror, with you, doing something you do naturally, and which your husband loves to see you doing, and you're lovely, so why would he not love it...?"

She nodded at me, still not fully convinced I could see, but I know a lot of women have doubts about their body size, and appealing desireability, but those doubts are mainly in their heads. I have asked her to let me know her husbands reaction when he sees it, and she has agreed happily that she will.....

She's happy for me to show the image on my blog, but wants her name to remain off it, which is a fair request, since its a private picture. But a very sexy and charming one, I think.......

And an absolutely perfect idea for a first wedding anniversary gift from a wife to a husband..... the gift of.....

Paper............

Saved by a kiss

2011-09-19T15:33:00.000+01:00

It's been a week. Of illness and sore throats and feeling like shit. I've no idea of where the spiteful virus came from, knocking me for six with its casual ease. To start with I thought it was just the first cold of the winter, but two days later when I felt I was swallowing razorblades, I felt the easiest option was to give in, rest totally, and recover slowly. Thursday was the low point. No energy, no appetite, no interest in anything, and no voice! Just a bare strained strangulated whisper of communication and the medicines mounting up in the bathroom, lined up as fervent hopes of soldierly battle against the lurgy attacking me. They rallied forth as valiantly as they could, and by Friday I felt amazingly a bit better, although still very weak. By Saturday, I was bad again, with a racking cough, and a lot less energy than normal - working at 70% of my normal busy and active self.

Which was a bit of a shame, as I'd got visitors.

One of them my fella's son on a rare visit from Australia and his delightful girlfriend who I'd not met so far who resides in Brighton. Their love affair is a difficult one due to the nature of financial rewards in one country, and not the other, for one of them, but not together, at the same time, on the same continent. It's a shame as they're such lovely young people, and very much in love. I apologised to her for my incapacity, and she brushed it off with her charm and good manners and was an excellent house guest for their brief overnight visit. When her man and my man went out to collect the Thai take-away that was deemed choice of favourite food for dinner, she asked to see my studio, which I gladly showed her, in my reduced state. She loved the "Tree of life" painting that I have hanging on my studio wall, as the reminder of that greatly complicated painting I did a few years ago for a client. And, surprisingly to me she didn't see that there was couple hidden in the landscape, and was astonished when I pointed it out to her. But, it was a few minutes later when her eyes fell on to a print of another painting I sold recently, that her mouth smiled, and she made the comment "I LOVE this ONE!!!" she said as she nodded towards it, and I grinned at her, and said that everyone always does. It causes a lot of smiling faces from both men and women. She nodded and said wasn't surprised "It's really cool!" she said in that way that I knew she meant it. And she added that she would happily buy a canvas print of it, when I can sort out the pricing for it. I said I'd let her know when I am able to fully price it and find a suitable printer to manufacture them for me . And the picture? The one that always makes people smile? It's my painting of "Kiss" - the original I sold to a Lord in Sussex earlier this year, who was reported to be a fan of my work by his secretary after he had received it and had it hanging on his wall. I mentioned this to my young visitor, and she urged me to mention on my website how many people from around the world have sent me strongly positive messages regarding loving my artwork, or the way I portray things in my paintings, or just how much they admire my talent. I am touched by their affirmation of their love of my work, and after my visitors had left on Sunday, I spent three hours or so sourcing the best of the many comments, so that I can add them to the other Testimonials on my new website.

Its nearly ready to go live. And has had many hours of hard work from me, and my webmaster, to get it to that state.......

Art flow overrides blocked head flow

2011-09-13T18:44:00.001+01:00

I don't get colds very often...maybe one or two a year, which I suppose is the average for most people. I always think there's not a lot you can do but get on with it, as the cold will run its course. I'll take various medications, to help it along its way, and take good care of myself in the meantime with hot baths, early nights, hot lemon and honey drinks, and eating well (based on the old adage of "feed a cold and starve a fever" which has probably been long since proven to be nonesense, but it makes me feel better) and trying not to do anything that makes me feel any worse.

But I am also aware that some things still have to be done.

Like, commissions for people, when there's a deadline involved. And when that deadline is looming ever closer. ... .. .. .. ..... ..

The commission I'm working on at the moment is a pencil drawing of a naked woman, looking at herself in a full length mirror. So, technically, its two drawings of her - the front view, and the back view. But they have to interact with each other, and look like it's one woman reflected at herself, and not two seperate women who are not interconnected. I know like I'm saying the bleeding obvious, but for the drawing to work, that shouldn't occur to anyone looking at it, but if it doesn't work, then it will scream loud and clear at anyone viewing it! And just to add to the difficulty of this drawing, I did a drawing of her whilst she was in my hosue last week, at night-time, and took accompanying photos to help me to continue the drawing after she had gone home. BUT, the finished drawing is to be set in her bedroom (which I've never been in) in daylight. And the mirror has to be her mirror, not my mirror, and since she felt uncomfortable being naked infront of me, and wouldn't totally disrobe whilst she was with me, she kept her rather large knickers on, whilst she posed for me. So, I've got to draw her - in daylight, in her bedroom, fully naked, infront of her mirror, but looking like she looked in my bedroom, at night-time with the light iluminating her differently, wearing knickers.

Ok, this is going to be a difficult one.

And yesterday I knew I had to start the drawing of her, because time is ticking nearer to the deadline.

But, I've got a cold.

Ok, but you're still going to have to start the picture, I told myself.

And, so you know what was so totally unexpected?

The drawing that I did yesterday was better than the drawing I did last week of her when I was fully fit and healthy.

Er, how did that happen then?

.......the minute I picked up my drawing pencil, I forgot I had a cold. The picture went well, from the very beginning, and although I was only doing the pencil outline, it looked great. I left it a couple of hours later, knowing that it was a good start. The minute I put the pencil down I felt slightly low with cold again, and was glad to have a quiet night, and early to bed.

This morning, the same thing. The minute I picked up my pencil I felt fine, the drawing worked, its looking really great, I could do all the mental planning that I had to for this slightly complicated drawing using various source material (some of which she had sent to me) to create something that has never existed in real life, but I have to make it look effortlessly like it has done (being of the woman naked in her bedroom, in the morning, looking in the full length mirror).

So, how does that work then?

I've no idea, but it does do! Thank goodness.

AND, the drawing looks better than the one I did when she was standing infront of me!

Making an exhibition of myself

2011-09-09T18:13:00.000+01:00

I made the acquaintance of a new friend the other week, and liked her very much. Since then we've chatted on the phone, and texted, a little, as you do when you get on. I knew a little bit about her, and her background, I'd met her man, knew what he did, and bit by bit, you build up a picture of the person, as they build up a picture of you. But, whilst you're doing all of that, you're doing other stuff too. The stuff that makes up your life, as they do the stuff that makes up theirs.

And I've had a really busy week, this week, as I've got a lovely commission to do for the woman who came to pose for me at the begining of the week, I've got to put some ideas together for a guy in San Francisco who has sent me some erotic photos and is waiting for my response of how they can be made into a painting of him, I've made a lot of new friends via Twitter, including a friend from a few years ago, who I met through blogging, and as well as that I'm updating my new website, with a large batch of emails back and forth between my webmaster and me, regarding his ideas, my ideas, the website layout, the best way of displaying the images, and a whole list of other questions between us too!

But, I would like to think that I've also got time for my friends.

Especially the new ones. When you're still finding out about each other.

So, it was great to hear from my new friend when she texted me earlier, and made reference to the fact she'd looked at my website, and suggested I look at her website. Which I did, later on this morning, expecting for some reason, to find that she was selling tee shirts from it (a slight mis-understanding with her surname in the web address gave me that impression!).

So... I looked...... with an open mind.......

And what I found.... astounded me..............

And that doesn't happen often!!!! :)

I sat there, reading her website, with my mouth hanging open, and HAD to ring her straight away!

And on answering it - I told her I was flabbergasted!

She asked "Oh.....Why....?"

And I responded

"I didn't know you were an ARTIST too!!!!"

And she laughed, and agreed she was, which meant that we spent the next hour both of us all fired up, talking about creativity, art, erotic art, models, posing, art workshops, and art motivations, art experiences and all things connected.

And it was only during that conversation, when I relayed to her about me being hugely impressed with the places and countries she has exhibited in, that I realised that I hadn't created my own page on my new website for my OWN exhibitions!

Duh!

So, when Ieventually came off the phone, all bouyed up with talking about to a fellow female artist, I sat down and made MY list of places and dates of where I've exhibited..... and was surprised...... at how many places there were on that list!

When even my laid back sympathetic open mindedness isn't enough

2011-09-06T17:37:00.000+01:00

She googled "Artists in Staffordshire" and my name came up.

I'm still not quite sure why, since I don't live in Staffordshire.

But, nevermind, work is work, and I know people find me from various places.

She chose me because she bought the house she currently lives in from someone also called Adshead, and the name seemed familiar to her.

She found my artwork on another site and liked what she saw.

We spoke a couple of weeks ago and she told me what she wanted.

A drawing of herself, in the nude, but discreet. As a present for her husband to celebrate their first year of marriage since Paper is the wedding anniversary gift for one year.

What a wonderful gift, I told her. Ideal, and different, and totally apt!

She came to my house yesterday to discuss it further. And to pose for me.

I showed her other pictures I had done, of other women in the nude. I talked about my huge experience. I talked about past drawings and paintings I had done of other people. I talked of the reasons why they wanted their particular pictures doing. I talked about nervous people I had drawn who felt afterwards that it was therapeutic to be drawn by me. I talked about my various and many experiences. I talked about how open minded I was. I talked about how used to seeing naked people I was. I talked about the fact that naked people are the same as a vase of flowers/bottle of milk/house in my world and I treat them all as objects to be drawn regardless of what they are. I talked about the fact that all women look beautiful. I talked about being comfortable in your own skin. I talked about all manner of things to make her feel relaxed.

But none of them were enough.

She just wasn't happy taking all her clothes off for me.

To be able to draw her.

Which made the fact she wanted a nude drawing of herself slightly more difficult to achieve.

But......

She is happy to send me photos of herself. In the nude.

Which helps enormously.

But in a way I feel I've let her down somehow.

Because, I've never had this happen to me before.

I can usually calm people with their experience of posing nude for me.

They find it a positive and uplifting experience and feel happier within themselves that they have taken that difficult and challenging step to disrobe and pose for me.

But, this one didn't.

For women everywhere

2011-09-02T16:31:00.002+01:00

Well, the day of the exhibition set-up arrived full of golden September sunshine and promise!

The drive to London was going to take three hours, there was no doubt whatsoever about that one, but at least I had good company with my man, and we arrived at Hoxton reasonably easily. Its not an area of London I've been to before, so was intrigued as to what it would be like, and found it to be one of those gems within London particularly the area around pretty Hoxton Square, which is where Sh! Womens's Erotic Emporium is situated. I went to locate the shop and found Renee the manager there - it's good to put faces to names, to email messages, and we chatted easily - but then both of us are easy in our vocations of earning money in the eroticism for women business. I must admit Renee came out with the best comment I've heard in a very long time. She mentioned one of the women who works in the shop and said that she wasn't there that day as "She's gone to a bukkake party. Have you heard of it? It's where men stand around you and ejaculate on you. It's Japanese. I've told her 'Take your goggles!' ".

There's not a lot you can say to that one, but certainly you can't help your mind flooding with images!

Renee welcomed me into the shop, offered tea and coffee, and after a few questions, and a bit of chat between us, she went about her business, and I started setting up the exhibition. We had agreed "a few more than 12-14 medium to large pieces" which isn't exactly an exact figure, obviously, so just to be sure I had taken 22 pieces, large, medium, and small, in the hope that the majority of them would hang there. And was delighted to find one of those delightful pieces of serendipity when it all fitted, in the right places, and looked good too. So, I didn't need to take any home, they all stayed as part of the shop. Large, medium, and small, acrylics, watercolours, pencil drawings, originals and prints. Prices starting at £40 going up to far higher prices, to suit every pocket.

What I hadn't accounted for was the fact the paintings needed to be on long strings, so I had to spend an hour adding string to the back of the paintings so that they could hang on the S hooks there. But I had ample help from my man, as always with practical assistance and upbeat manner, and the pictures looked great when we'd finished. We had a quick look around the innovative shop, at all the lovely goodies on sale, before saying our farewells, and I came away feeling that it was the ideal erotic shop for women!

I had hoped for a couple of hours looking around the area, but the rush hour traffic was threatening, so after a brief but most delicious late lunch from one of the cafes on Hoxton Square we headed back north in the glorious sunshine.

But the thing that I am most pleased about, and proud to be part of, is the fact that I am a woman artist, specialising in erotic art, and my artwork is being exhibited in an erotic shop run by women, for women. What a wonderful partnership of the right venue, and the right artwork on show!

So, I hope you're able to go along, and see for yourself, the artwork, and the venue! Its fab!

Chilled to the bone, but warm to the heart

2011-08-29T23:35:00.000+01:00

It might have been a miserably cold, grey day, but the positive feedback I've had at the exhibition has kept me warmed through!

I knew there would be a lot of artwork there, there always is. And probably more there this year than in past so I knew that there would be a lot of my arty friends there, both old and new, either exhibiting their work like me, or just there to view the artwork. Smiles of greeting, and "Hello Jackies!" as I went around, knowing all the faces that spoke to me, but one - a fat faced man I knew I didn't know but he seemed to know me. I disregarded him as mistaken and carried on around the show, bumping into him again an hour or so later, as he smiled again at me, and said a clear "Hello" to my face, and I felt he felt he knew me, so wondered how he thought he did, and then I saw his wife, who it turned out was a friend of the woman I bought my house from last year, who I had met there a year ago, so he was right, he did know me, and well remembered me into the bargain!

I loved seeing the new paintings on show there, and discussed some of them with a fellow artist as we went around, agreeing on what constitutes good art, and bad, whether quick acrylic abstracts are better than traditionally painted watercolours and discussing the merits of both.

With an other artist friend we discussed erotic art, and the difference between that and life drawing and she said I'd like the burlesque drawing session she goes to every month or so. That sound's like fun!!!

I was pleased to see I'd sold a pencil drawing, that always makes the whole hard work of exhibiting, worthwhile. But it wasn't til I chatted with the woman who runs the show and she told me it was the guy who opened the show who had bought it, the Chairman of the local County Council, no less, and I told her he'd got a good picture, as it had won an award earlier in the year when I exhibited it with another art group, also at Ticknall.

As I was packing up my artwork after the show, another art acquaintance I've known a long time,came up to me specifically and made the comment about how much my art had come on in the last few years. She said that it showed in my art, and nodded at the pencil drawing that I had sold, and said that she had thought it was a photograph when she first saw it, and could appreciate the work that had gone into it, and I nodded, and agreed, it had. She said "You've got to have to paint every day for a talent like that!" and I said that I don't paint or draw every day, but certainly every week, I do, and she nodded at me, knowing that for art to be successful, you have to hone your skill on a regular basis.

Fond fairwells

2011-08-26T10:56:00.000+01:00

Full of hope, as is the way of my world, that some of my most beloved and cherished items are leaving me. To move on to pastures new, well, walls really, old and new.
That the paintings I have chosen for the exhibition are delighted over,
get emotionally entwined with,
and purchased by,
those who fall in love with them.
So much so that they want to buy them, to own them themselves for ever more.

I think I've picked wisely.

There is certainly an eclectic mix, something for everyone.

So, I shall pack them up later on, lovingly.
And hand them over to the exhibition people setting up the show.
Who will hang them tonight.
For the exhibition tomorrow.
For the people to view.
(And hopefully buy)!
My paintings.
Which will then become....
Their paintings.

The exhibition is at Ticknall Village Hall, South Derbyshire. Over the bank holiday weekend, open to the public on Sunday 8am to 6pm, Monday 8am to 5pm. Its a great day out, there are many great paintings to view there and they sell the most fabulous tea and homemade cakes too!

Why I turned her down

2011-08-24T16:04:00.000+01:00

A friend asked me yesterday if I was free one night next week. The answer was a regretful "No, sorry, can't". it's not as if I didn't want to see her, I do, but we've arranged to meet in a couple of weeks anyway. And it's difficult to say more than "I've got a lot on at the moment" and no doubt people think, oh, ok then, she's a bit busy.

But, it doesn't explain it, not at all.

For instance, this week, I am sorting out which paintings or drawings to take to the Sh! exhibition next week.
I don't know exactly which are the best ones to take with me, as I've never exhibited there before. I don't know how big the wall space is, how good the lighting is, what sort of paintings are likely to sell there. Its a new venue for me. So, I've got to take a good selection of my artwork.
And some of whichever I choose to take, may need to be re framed. So I need to sort that out.
And they will need wrapping up in bubble wrap to transport them.
And I will need to make sure that I have the painting title cards ready to take with me for them.
And I will need to make sure that I have the right equipment with me for hanging, for when I get there I don't want any conversations about "Oh, I thought YOU were bringing the hammer and nails with you".

And because I'm exhibiting at Sh! its prompted a couple of interesting conversations - one by text, one by email, regarding the possibility of other work that may come my way in commissions. I never know with commissions if people are really serious, or just like asking a few questions of a woman artist, or whether they like the idea, and may, just maybe, at sometime in the future, get back to me, if they don't go off the idea in the meantime. It happens, and I know its part of the way of an artists life. But, I treat all conversations equally as "Well, it might be a good commission for me" and "Well, I may not get it, so don't get too excited at the prospect". I try to be fair with everyone I deal with, and will explain the artistic process for them, once they have decided what sort of painting they want, subject matter, size, medium, and price range they are considering.

And, just to add to the mix, I'm still in the process of updating my new website, and that's taking far longer than I had hoped.

And I've joined Twitter this last week, and am slowly building that up.

As well as the comments I've had on Facebook for the exhibition.

AND, as if that isn't enough, I've got a big exhibition on at Ticknall Village Hall in South Derbyshire,this weekend, that is something I enjoy being part of, as there will be about 1,000 paintings hanging there from all sorts of artists, both amateur and professional. The money raised there is for the village school fund raising, and makes a vast difference to the people involved there.

So, that's why I'm a "bit busy" this week and next, I can't see her next week, not at all.

Sh! have shouted loud for me

2011-08-17T22:27:00.001+01:00

I'm really excited about my forthcoming solo exhibitions at the Sh! Women's Erotic Emporiums, starting with their Hoxton branch on 2nd September til 30th September, and following on at their Portobello branch in October.

So, go to their Facebook page to see what they're saying about it, and let them know if you'll be attending......

Cleaning up and not being Adam

2011-08-15T23:24:00.000+01:00

Every so often I invite complete strangers into my house. Its not often, and there is always a reason.

The latest reason being that I wanted my stairs carpet cleaning.

The guy arrived, later than he had anticipated, well into the afternoon, and had another couple of appointments to do after me. So, he was running late, and wasn't due to be finished with his days work for a long time after. I expected him to do the job as fast as he could, and leave with equal abruptness.

But it didn't work out that way......

After efficiently bringing all his cleaning stuff in, parking his van, and peering at my carpet with a quizzical eye. He looked up. Then looked at me and stated with full assertion "This is an artists house!!!!" and I nodded and grinned at him, glad it was so obvious to someone who doesn't know me from Adam. (Hi Adam, if you're reading this!).

And then he started asking questions, and I started answering them, brimming with excited confidence, as I explained about various pictures hanging on my walls, the ones I had painted, the reasons behind them, the subject matter, the methods of painting them, places I had exhibited, the studio I paint in, the latest artwork and the favoured older ones. He heard it all.

And he loved it all. Which just added to my telling him more as he was obviously fascinated by it and what I had painted.

So by then, he was running a further hour later as he had delayed doing my job because he was more interested in hearing about my art and my life as an artist!

And he couldn't wait to go home to look on the internet at my website and all the work on there too, and tell his wife about it!

He arrived late, and left as a fan, with a big grin on his face as if he had found a fabulous treasure. But, as he explained to me, he goes in many many houses, and a lot of people say "Oh, I paint you know" and he looks at their artwork and doesn't know what to say, because he has an eye for art and knows when its poor amateurish rubbish. But, as he said "I can tell that YOU can paint, and have a talent for it!"

He arrived late, and left as a fan.

YAY! What a result!!! :)

Tucked away on page 10

2011-08-12T18:11:00.000+01:00

I had a bit of a clue in the week that I would be featured in the paper, from the journalist who wrote the article, but wasn't sure which day it would actually be. But fortunately others saw it, before I had had chance to find out, and kept a copy behind for me, so thanks for that if you're reading this!

So there I was, tucked away - well not that tucked really, it was at the top of the page under the "News in brief" column in the Burton Mail on Tuesday this week (the ninth, if you want to be exact) that the article appeared telling its readership about the watercolour commission I've just done of the Old Bothy at Calke Abbey in Derbyshire. (And just whilst I think about it, its quite interesting to note that Burton Mail is based in Staffordshire, Calke Abbey is based in Derbyshire, and I am based in Leicestershire! but none are actually that far away from each other!).

Anyway, the article, if you can read it here, (click on it to expand it) explained about the watercolour painting I'd done recently and described how I loved all the textures in it and how detailed the painting was to capture all that was featured in it.

I rang Stuart to tell him that the article about the painting I did for him was in the paper, and he "matched me" by saying he was having something printed in the paper next week too! He often write articles about local history so its normal in his life to have his name featured in the paper, still he was pleased to hear it, and glad I'd told him about it.

And its certainly put a big grin on my face too!!!

Family unit

2011-08-09T19:28:00.000+01:00

The last week has been a blur of days out with my nephew and his friend. The highlight of which was probably Alton Towers which was their, and my, first visit. And although the thought of going on the well named Oblivion ride was too daunting even for teenage boys, they loved Nemesis (and I loved watching them on it, with my feet firmly on the ground, from the side-lines). We also went on some (far less scary) rides together, my man, them, and me, and since all of the male contingent came home dripping wet and sodden, it seems the day there was a great success!

Yesterday was their last day before heading back home, and I gave them the choice of the Space Centre at Leicester or the zoo at Twycross, and they astounded me by choosing the zoo. We arrived at lunchtime and had a bite of lunch before heading around the animal enclosures. One of the highlights, before we'd even set foot in the zoo, was a trip to the toilets. Now you may think that a strange thing to say, and think I don't get much, but it was what was in the toilets (well not in the pans themselves, but the room!) that interested me. To be more specific, it was the display area behind the wash basins, in particular that caught my eye. As I washed my hands, I could see that behind the glass was a couple of long straight boughs. And had presumed that they were just decorative with a woody theme for the zoo. But there was more to it than that. Infact there seemed to be little sails gliding along it. How can that be...? Er.....? and I leant forward to see how little emerald green and bright red sales were gliding gaily along the boughs, and gasped in wonder as I realised what they were.........

.... and after watching them for a few minutes, went to find my nephew and his friend to tell him what was in the ladies loo, and to ask them if there was the same phenomenon in the gents. They immediately hot footed it to the gents and came back a few minutes later with huge grins on their faces, yes, indeed, the same thing!

........ants.........

....walking along the boughs, back and forth, left and right, along the whole length of the display cabinet they were in, and the tiny sails, were infact, brightly coloured leaves! They had cut them, and were carrying them back to their nest, which was actually only a foot away from where the leaves were growing, but they had to take a detour of 30 feet to get there! How ingenious a display area, and as fascinating to watch the activity within as any fishtank.

We went into the zoo proper, and spent a leisurely afternoon looking at all the animals there. No reptile house, no snakes, no lions, but there were a lot of primates, since that is what the zoo is known for. There were also some of my favourite animals there - the cheeky meercats who always seem to be having a good time in their noisy inquisitive communes, and the even more fun loving otters, who play around for the sheer frolicsome joy of it. Less playful but equally fascinating were the elephants, Scottish cats, and Gorillas.

But it was at tail end (couldn't resist that one!) of the day that we eventually found the one display area that I had been searching for - and behind the glass, in a beautiful setting of water, rocks, trees and shrubs, we found her. Sitting quietly, tucked behind some grass and rocks, she sat, ignoring the activity watching her, and her proud face, and fierce eyes showed no emotion. But I noticed that everyone behind the glass looking at her, was as fascinated with her as I was. Its not often you see a snow leopard, and its the second time I have done in the last two months- although one was in a zoo on French soil, and one here on English. I took as many photos as I could, because I love painting big cats, and have done a painting of a snow leopard some years before, showing the fury and life force of the feline to good effect - which I'll show you here.

The highlights of the day seemed to be over, and we had a last walk around before the zoo closed for the night, so it wasn't a planned thing to find the next place we went to. We wandered through an open door, and found a family group who were sitting down comfortably and just starting to have their evening meal. We stood as voyeurs do, to watch them. They were aware of us, but didn't want to include us in their eating, and carried on, regardless of our impudence. But there was one member of the group that caught my eye more than the others, and that was the youngest member, who wasn't much more than a baby, with large round eyes, and a solemn air, made more quirky by the sticky up hair at the back of (his/her? I'll go with his) head. The baby wanted to be with his mum and did whatever he could do to be with her, but whenever he got to her, she pulled him closer, kissed him, then firmly but lovingly gently pushed him along to fend for himself for a bit. He went, reluctantly, and did as she bid him, but kept looking back to make sure she was close by, and as soon as he could he headed back to her. She leant over to him, hugged and kissed him again with reassurance, and gently but firmly pushed him along to be a little more independent. And so the pattern went, him going just far enough to follow her bidding, but heading back again as soon as he could. No words were spoken, but there was a lot of eye contact, and even the voyeurs could see the love and commitment between them. I stood there entranced, and knew I wanted to paint that scene before me, the loving family group, having their evening meal, as the baby took baby steps towards his independence. The mother tucked up under a blanket she'd placed over her head, the baby learning all he needed to know about life from her. But, unfortunately, as it was time to go, we had to leave, and with smiles on our faces at the sight we'd witnessed. I don't think I've ever seen a baby like that before, and certainly not ever been so close as we had been, to that little family group of vegetable chomping Orang-u-tangs.

But, what I have got, is a large amount of something that will help me to achieve my desire - oh, yes! Photos! :)

Well cool and lush

2011-08-05T15:47:00.000+01:00

My sixteen year old nephew has come to stay with me for a few days, along with his male friend, and I'm enjoying having two teenagers in the house (yes, really, I do mean it). Its the first time they've been to see my new house and it was described as "Well lush" which seems to give it the thumbs up in teenage-speak! This morning they asked to see my studio and the artwork I produce in it, which I was more than happy to show them. And my nephew declared that it was "Well cool" which again was great acceptance! He picked up one picture and asked me if it was painted in oils, and I said no, it was in watercolours, remembering that he had mentioned the other day about me painting on material, and realising he meant canvas. Its all new for him to see for himself as he lives the other end of the country from me so I don't see him as often as we'd both like. He particularly liked the "Tree of life" painting I did, as a version of it is hanging on my studio wall, and his friend liked the "Guardian Angels" painting I've done with the faces in the cottage garden. It reminded me of the sort of art that I used to do when I was their age - surreal paintings of faces with a macabre twist to them, mostly.

I took them to see the village of Repton, in Derbyshire, the afternoon they arrived as it's the village I grew up in, as well as being a very pretty and interesting place to visit. We wandered around the ancient graveyard as I pointed out the more interesting gravestones, and then into the church itself for a brief visit. You don't have to be religious to find the building of old churches interesting. As we walked in there was a small tea party taking place, and the first person I saw there was a woman I knew from years ago, who helped me get a drawing of mine in a local book about Derbyshire villages. We saw each other at the same time and said hello as I went over to speak to her properly. "Hello Jackie, how are you?" she said and we had a brief chat before I took the quietly loitering teenagers down to the crypt to show them the ancient historical areas which I was pleased to note they were actually interested in! As we ascended the well worn stone steps back into the church and walked back past the tea party one of the old ladies beckoned me over "Are you the artist Jackie Adshead?" and I nodded at her and smiled and she said "I've always wanted to meet you, since you did the covers of the Parish magazine" and I smiled even more at her as we chatted. And on the way out, I pointed out the Parish magazine to my nephew and his friend - they still use my artwork for them, and I did them in the 1980s. Its certainly been a good advert for me over the years.

I saw my good friend Peter the other day, who I've not seen for a few weeks, and as we chatted he said he had spent the evening with some purple people the week before. Although I am an artist, and colours are incredibly important for me I don't particularly know what a "purple person" was, and queried the description. He went on to explain about the "arty types who don't wash very often and their houses and clothes are a disorganised mess" and I nodded at him in understanding. He asserted "You're not a purple person" and I replied with a big grin "I knooowwww!". Peter said "No, I always think of you as half yellow, and half blue" and I thought about it, and agreed, yes, I could see that. I know I am an unusual mix in that I am creative and artistic, but also methodical and logical too - hence his description of the half and half colours. He said that he was fully blue, as he has the methodical accountant background to his career. It's funny, the colour thing, because I've always thought of myself as gold coloured. I wonder what colour other people view me as?

Because I did the parish magazine covers, but also I used to do macabre surreal art as a teenager, I like doing erotic art, but I'm more than happy doing landscapes and pet portraits and mythological creatures too!

Basically, I just like doing art, whatever it is.

Earthy ideals

2011-08-02T18:03:00.000+01:00

The paraphernalia of old potting sheds is something of a delight to a gardener. The sight of old clay pots stacked up high awaiting this years seeds, the well remembered spades and forks for digging, the old machinery taking the toil away from back-breaking labours, and over the whole pervades an earthiness of compost and old soil, of damp hessian, and the faint underlying odour of engine oil. I love that smell, its all so familiar and welcoming.

But when all of that has to be put into a painting, it certainly is something of a challenge for the artist, and a feeling of accomplishment to actually achieve it.

And all of that was what Stuart was asking me to paint for him. His memories of the old bothy at Calke Abbey in South Derbyshire, the years he spent working there as a volunteer as the old house and garden were slowly brought to life again for visitors to view and marvel at the changes in time from the current new and shiny, back to the old, worn and decrepit.

Stuart took me back there a couple of weeks ago so that I could view it for myself, take in the atmosphere and take some working photos for his painting. He didn't give me many stipulations, other than removing some of the clutter on the floor, and to move a couple of the tools to different positions on the wall. Other than that it was as the photos depicted.

And that was what I drew, and then painted, and then went over with fine black pen to bring out the finer details of the drawing.

It sounds so simple saying all of that in one sentence.

But it wasn't at all easy.

It's the most detailed subject I've ever drawn. And the details within it fascinated me. Particularly the textures. The grooves of the old wooden counter top, the peeling plaster, the faded blue of the aged paint, the sagging shelves, the missing draws in the seed cabinet, the cobwebs, and old bricks.

And within those areas there were odds and end of tools - the obvious ones hanging up - scythe, rake, spade, fork. But also as I looked closer I found two saws, a set of scales, two tiny keys, a spanner and a bird feeder, and even an old chair.

And I drew all of them.

Because what he also wanted was for all of it to look interesting for anyone to see. Not just for his memories, but for anyone viewing it.

So it all went in.

I rang him last night to say I'd finished it, and we arranged for me to deliver it to him this morning. He asked me if I was pleased with it, and I said I was. He said an ominous "We'll see" about whether he would be......

The minute I arrived at his house, he welcomed me in, and demanded to view it straight away, he and his wife clearing a space so that we could view it. He stood back, looking at it, and said how like the bothy it was, except it was perhaps a little too clean on the floor!

He looked and looked then said he'd look at it for ages, and fall in love with it, and I agreed that was the way it should be with paintings, to gently fall in love with it from constant viewing, and constant liking what is seen in it.

After he stood and looked at it for a while he said "Its better than I thought it would be!" and I smiled at him. He went on to say "I knew you're good at what you do, but you've made a better job than I expected!" and I smiled even more!

And just as I was about to go, after cups of tea and a visit to his garden to admire the latest blooms, he said "I've got to go and look at it again!" as he shot off to view his new painting. And as he and his wife stood looking at it in quiet reflection, he commented on the thing I knew to be the case, but others don't always see. He said "That view of it isn't real" and I agreed. It isn't. The picture isn't full reality as you can't see what has been drawn in one go. Because there is a wall and a doorway which are in the way, and the room seems bigger than it actually is, because of that ability to stand back to see it all in one go, particularly the items on the right hand side which are behind the wall and in a corner.

And that is the anomaly of art, and particularly of this painting. Although it isn't a totally true depiction, it is although a true feeling, a true memory, and the true remembrance, and true ambiance of that aged gardening room.

And that was exactly what he wanted me to paint. And that is what he now has hanging on his wall.

For Four Fores

2011-07-29T19:20:00.000+01:00

My friend K called to see me this week, and as always it was really good to see him, to have a catch up chat, our usual shared laughter over mugs of hot sweet tea and to hear his interesting and informative latest news. We'd got so much to say to each other and it was good to sit outside in the fitful summer sunshine whilst we talked. I offered him another, rhetorical....."more tea", since I know he drinks as much of the beverage as I do, and he accepted with a grin, and said "Ill have a look at your latest effort whilst you're doing it" I turned back to him "EFFORT?????!" I queried. And he explained patiently to me "It's not a masterpiece until its finished, until then it's an "effort"!" "Ok" I acquiesced with a smile, although he was on iffy ground as far as I was concerned, I've not thought of my art as "efforts" for many years. They invariably turn out as I expect, and are always pieces of art from the first pencil line. I consider the word "effort" in this case to describe amateurish attempts at artwork that may or may not become a finished painting. So, I don't consider my paintings as "efforts", not at all! It's a good job he's a good friend, for me to let him get away with that comment!!! LOL

But I was more than happy to show him the watercolour painting I'm currently working on for Stuart, of the interior of the Bothy at Calke Abbey. And he agreed with me how detailed the painting is! I'm really pleased with the way it's progressing, and the drawing out that I've done of it. It was always going to be a difficult picture as I'm painting from half a dozen photos to make a whole room, although the photos can't capture the whole room all together. It's half painted, by now, and I may use a fine black sketching pen to pick out the detail afterwards, I'll know for sure when I see how the painting has progressed and see how much it may be needed. And the surprising thing is - I'm loving doing it! Its great fun, and very challenging to draw all the tools, and paraphernalia of an ancient garden shed.

Today, a guy I have only met a couple of brief times before, came to my house on an unrelated to art matter. He and I stood chatting in the kitchen as we drank tea and coffee together (not mixed you understand, that would be the worst of both drinks!), and it was only in passing during the conversation that I mentioned that I'm an artist. "Aaaarrre you an artist?" he asked in wonder, and I nodded at him, and agreed that I was. I went on with the conversation, and skipped over the artist part. It was only when he was leaving the house, that he looked at the artwork on the walls and asked if I'd done it. "Yes!" I said. "What, ALL of it?" he asked, and I agreed with a broad grin that it was indeed all mine. He peered at one of the big cat watercolour paintings that I'd done and asked me how long it had taken. I appraised the picture he was indicating and said "MMMMmmm.. about 12 hours for that one" and he was flabbergasted at that answer and shot back with "Is that all...?" and I answered with a bigger grin "Well, I know what I'm doing!" and he nodded in understanding, especially when I went on to say a bit later on that a painting actually takes "12 hours AND forty years of experience" - THEN, he understood!!!! :)

And the reason for the strange title for this post...? Well, this is the four hundred and forty fourth blog post...... so I thought it worth a mention....... don't you...? :)

Look and look again and look some more

2011-07-26T18:11:00.000+01:00

It's going to take hours to do this picture. Hours of pencil drawing, hours of pen drawing, hours of watercolour painting, hours of looking at it to get the ambiance right. Hours of studying photos of it before I even start the work I've just described. Hours of peering into tight corners, hours of looking at colours, and shapes, hours of studying texture, and hours trying to put it down on paper.

And I'm gonna love every minute of it!

...and that's exactly what I told Stuart the other day when we finalised what work I would be doing on his painting for him. He wants it "to look interesting to anyone" and to have ambiance and atmosphere in it as well. I explained to him that a photograph only captures a split second in time, but it flattens shapes as it does it. A painting will bring out those shapes, will create more light where it's needed, and more dark to add depth and interest to the painting. And this one will be about the most complicated thing I've done for an awfully long time. Each drawer in the seed cupboard has to be drawn, each seed word painted on it has to be written out, each plant pot, each shelf, each aspect of the clock and the tools on the wall has to be drawn. And some of the tools have to be moved around as well, just to add to the fun of it! And some of the pieces of gardening equipment have to be removed in the foreground, which will add to the fun again! It's going to be like drawing knitting, or a dish of cooked spaghetti, this hotch-potch of ancient garden implements.

And looking at the photo here, you can see how much work has got to go into it, to depict it as a watercolour/drawing in pen and wash.

And I can't wait to get started!

Falling in love with a colour and a memory

2011-07-21T20:26:00.000+01:00

The chance to paint some one's memories is always a pleasure. When that someone is my friend Stuart Haywood, and it involves a day out in his company, it makes it even more of one. It also involved a lot of walking, a history lesson, a botanical lesson, a bull, a herd of sheep and some cheekiness! But I'd expect all of that when out with Stuart, who's age certainly doesn't curtail his ability to walk many miles over hill and dale, and to air his considerable knowledge to any willing audience, which was me, this day.

We met at the village of Ticknall, in south Derbyshire and had arranged for us both to walk to the nearby stately home of Calke Abbey. I hadn't realised it would involve passing through a field of cows, who were all lying down chewing the cud, and I noticed one of them was a lot fatter, and fuller than than the rest...."Hey, isn't that a bull?" I asked as we passed by. "Yes" Stuart agreed "He'll be calm if he's with his herd" and I was incredibly pleased and relieved to note that that was indeed the case. We walked through woods and through the beautiful parkland and came out by the large house. It's not a very attractive house, quite square and heavy looking I always think. But we weren't there to look at the house, and passed on and up the hill, towards the little church. But we weren't there for that either. We were heading for something far more interesting.

We past by the newly restored Orangery and stopped before a gate in the high wall. Closed against us. "Do you want to go through?" he asked and I nodded in agreement. I love doors in outside walls, and always imagine they lead into mystical worlds. As indeed did this one. A world of the past, a world of colour and fragrance.

It was the world of Peter Rabbit, and Mr McGregors garden!

Cabbage patches, currant bushes, fruit trees, gourds, and beans, and in the distance a white lean-to greenhouse, and upended clay pots on canes amongst the potato plants. We by-passed the well stuffed scarecrows and passed under Medlar trees, and black Mulberry trees, (both of amazed interest to me since I've never seen either tree before) and on to the next part of the garden. Of flowers and colour and sweet fragrance and Stuart indicated the plain looking building to our left. "That's it!" he said, and I looked with interest at the place we had trailed this far to see.

I walked towards it with him, walking in through the main door and he indicated the greeen painted doorway to my left. I stood in wonder and looked at the scene infront of me. A vision of metal, wood, brick, pot, hessian, glass, plaster and paint. All of it much handled, aged and worn. This was what he had brought me to see. And more to the point, this was what he wanted me to paint for him! Wow! It was a veritable cornucopia of ancient gardening implements and would be most interesting to sort into some semblance of structure and interest.

For what Stuart wants me to paint is the essence of the spirit of 17 years spent there, in that room, the Bothy, when he was a volunteer working at the gardens at Calke.

I took photos, lots of them, and looked at all the old implements. But the thing I loved most about it was the blue distemper on the walls, all peeling off and faded with age and many summers, and long distant winters. And I knew that I would love doing that painting for him, because the haphazard piles of old clay pots would be set off to perfection against that blue. If you can fall in love with a colour, I fell in love with that one.

We continued the rest of the visit looking in other old buildings, all full of memory and one purpose - the boiler room, the pony lawn mower shed, the ice house, the Orangery. Soaking up the atmosphere, soaking up the memories, the feeling of the place, the ambiance. And I agreed whole heartedly with Stuart as we set off back through the woods that it was indeed important to do that, to see the place for myself, to understand what it is he wants me to paint for him.

The photograph is here, of what he wants me to draw and paint for him in watercolours. And I can't wait to get started! And he can't wait to see it!!!!

The special painting within

2011-07-20T22:58:00.000+01:00

My hairdresser talked of an idea for a painting that she would like done, of someone close to her, and asked me if I could do it.

Yes, I can.

I believe everyone has a "special painting" within them. And I love to ask people who I meet what it is. For some, its a racetrack at Silverstone, for others its magical unicorns in a mystical wood, or the scene by a favourite beach, or their dogs, or their children, or their house. Its different for us all, and is the precious image we hold dear.

And me?

I'd love to paint it for you.

I told my hairdresser that whatever she wanted, it was possible. Even from bad photos, it's possible to create a painting of a beloved one.

So, she's looking through some favourite photos, and will get back to me.

But, in the meantime, I am busy with other things, again.

The new website updating is limping on, and I'll be far happier when its done. I feel like I'm juggling again. Trying to set up the new website, whilst painting, and looking for outlets for my art. Some may work, some may not. But I tend to find, that when I try something, it opens other doors for me.

And I've met some very interesting people, that way.........

It started with the smell of the sea and ended with a happy twist in the tail

2011-07-15T21:15:00.001+01:00

The week started with a burst of painting from me. That in itself isn't that unusual, I have bursts of painting sessions quite often. This one was prompted by the fact that I had to get the paperwork completed and returned this week for an exhibition that is taking place at the end of August, and when the questions require such things as "title","medium", "size" and "price" it helps somewhat if the painting actually exists in real life! I couldn't ever just presume a painting would be finished by then, it has to be actually complete, for me to fill the form out. Hence the flurry of paintings, as I particularly wanted to do a couple of the sea, since I've recently been on holiday, and I find it a delightful place to be, as do most people.

I had virtually finished a pretty watercolour of the area I went to in France, at St Palais - and was absolutely delighted with it, as it depicted all that I had hoped for - the view of a sundrenched sandy beach, the tide receeded a little to reveal hidden rock pools full of sealife to explore in their miniature worlds, sand, sea, a large beach curving around to the next headland, pine trees revealing the buildings tucked amongst them, and the feeling of a bright sunny day from the strong shadow to one side, hinting at the steps following the wall down to the beach, and a couple of children playing by the waters edge, paddling and debating whether to have a swim or an icecream. The picture so easily named itself "The summer holidays start here"! And because it had gone so well, it inspired me to start another one, but this one a looser picture, more a hint of the sea crashing in, wet sand, and the curve of a wave as it foamed against the sand, and a couple walking in the distance. But the whole purpose of the painting, indicated by the title itself, is that the sky and sea merge as one as the clouds come in as the wind picks up. So, again, another easy title to name the picture (and I love it when it flows like that, it means it feels right!). But the part I love the best of this painting is actually the wave in the foreground, and the foam itself, it more than anything else in that picture is the part I love the most, the way the water is flowing, the texture and the dedicate colours of water, sand, and foam so difficult to paint, and yet it works so well here, but I know that's because I was on a roll, and all inspired from the other painting I'd done!

So, that was my week, of painting, and it's been a good one, because of these happy holiday paintings.

And then I opened up my my emails.

And found one from Lucy Felthouse.....

.....which said..

Just a very quick message to you to let you know that the Seducing the Myth cover is out in the wild! I just posted a blog post about it, along with the table of contents. You’re fully credited within the manuscript, too. It should be out within a few weeks.

YAY!!!!

So, go and have a look for yourselves, and see what my painting looks like now that it's a book cover!

And I'm so delighted to see that it has been well received so far, with the comments Lucy's had for it, which is really exciting to hear!

So, all in all, it's been a good marine week! (I mean, of the salty variety, not the sailor sort!!)

The smell of the greasepaint

2011-07-12T20:11:00.000+01:00

My friend the local historian, Stuart, rang me this morning. We chat regularly, every couple of weeks or so about things in general, flowers in particular, and any snippets of news either of us have. He's featured in the local paper next week and wanted to tell me about it, and also wanted to inquire whether I'd be interested in accompanying him at a talk he's been sort of asked to do (but it needs confirmation, it's only a verbal request at the moment) to a local ladies group "sometime next year". It's only for half an hour, and he will talk for half of it, and I could do the other half - like we did a couple of years ago when he did the talk about posing for me, and I accompanied him to tell the group a little more about myself. It's our double act! I said I'd more happy to do it again, whenever the "sometime next year" actually is.

He asked me what I'd been up to, and I told him about updating my new website, which is being created as I speak, although its all behind the scenes stuff at the moment, and not live. I'm enjoying doing it with my webmaster, tweaking and creating, designing and fine tuning.

And the rest of the day has been finishing off a watercolour painting that I'm hoping to exhibit soonish, at the end of August. I finished it off, and started another one, as I was in the momentum of it, and had the fresh idea for the next one forming away as I completed the first. I like it when that happens, it means I'm in the mental flow of it. I won't show the finished one to you yet, but I'll wait until the other one is completed and show them together. They're both the same subject matter, just different aspects of it, done in different styles. And I'll be interested to know which you like the best.......

Right, now I need to go and wash my hands, which have blue acrylic down two of the nails, and somehow, I've got it in my hair as well, and I didn't even know until my man pointed it out to me when he saw me at the end of the day. That show's its been a good painting day! When I've got so excited and passionate about it, I didn't even know how or when I managed to smear it on me as well as the canvas!!!

Just a bit too good

2011-07-08T13:18:00.000+01:00

The watercolour finished, viewed from every which way I could think of, tweaked and adjusted so that I was happy with it, I rang the client to say it was completed. We agreed a date and time for him to come and collect it and I got on with the next painting on my to do list....

He arrived on time, and seemed quietly happy with the painting. Well he had a big grin on his face. I think it had taken him back abit to see himself depicted in a painting. I smiled in understanding, I've seen that reaction before. I know he will spend the next few days looking and looking and looking at it until he grows to know it as well as his own reflection. In a way it is his reflection, but also it isn't. It's the face we all see, not the face he sees. When you look in a mirror it is by definition, and excuse me for stating the bleeding obvious, a mirror image. When you look at a painting of yourself, it's the face the rest of the world sees, and will seem a little disconcerting at first to the person whose face it is, a little out of kilter, well known, but slightly wrong somehow. But gradually, quietly, there is an acceptance that that is the "real me" and the love for it will grow accordingly.

As he was about to go I mentioned that I might put it on my blog, to show my latest painting, and asked the same question that I ask of anyone who has had their portrait painted by me, the "Are you happy with that...?" question. And he said straight away "If you don't show the face" and I laughed in understanding and said "Ah, it's too good isn't it - its too like you, that you don't want anyone down the pub taking the mickey of you posing for this naked".

So, here is the picture, because I want to show it as my latest artwork, because its in watercolours and they're far more difficult to do than oils, to get the nuances of tone right, as its so unforgiving a medium to adjust if anything needs adjusting.

But the face has been blanked out. And he is without name. Without age. Without geographic area.

But, I'm pretty sure that somewhere, some one is quietly sitting looking at this picture in its entirety and smiling gently to himself......

Massage messages

2011-07-06T11:59:00.000+01:00

The naked man who I have spent most of the last couple of days with is almost ready to leave me. I've spent a few hours getting him how I want him, tweaking and adjusting where necessary and viewing him upside down to make sure he's fully there. As you do! :)

An odd thing to do, I'm sure you think, but that's the best way to check when you've painted someone, particularly a nude, that the shades, colours, tones and lines are all correct. When you look at an image to paint, the brain overrides what is actually there to read "what should be" so you have to bypass that bit by putting the image upside down, which doesn't read as any recognisable shape as far as the brain is concerned, and then you can see the ever so slight tiny nuances of changes of colour and tone, and adjust it accordingly. I never paint the whole image upside down, because strangely enough that wouldn't work as a finished picture. No, its just for checking when the image is nine tenths finished, and sharpens up the bits that aren't quite right. And its mainly for when I paint a face or a naked figure, as the adjustments can be so slight that you hardly see that they've been made, and I use my smallest paint brushes to do it with. But if I showed you the nine tenths finished painting, and the totally finished painting you'd notice that the totally finished one just looks better overall, more complete somehow.

So, he's almost ready to go, and I am thinking about my next commission. Or at least I hope very much that it is my next commission, because it's something that is fascinating me as a subject matter. I have had three or four long chats on the phone with the guy who is interested in me doing this painting for him (and I mean long chats - a few hours worth), and we haven't even got to the point of discussing whether its going to be in oils or acrylics or watercolours, on canvas or board, the size of it, the use of colours, the painting style, the price, or even the subject matter fully. But he and I know that we have to have the discussions we have had first, for me to fully understand the subject matter he wants me to paint for him. Its a new subject for me, but one that is certainly erotic, and sensual, two things that I love to put together, although they should always be together as far as I am concerned - erotic and sensual - although it is possible to paint something sensual that is not erotic - enjoying eating a delicious meal by candlelight, or bathing in the sea on a bright sunlit day, are both sensual experiences.

But, his idea as we've discussed so far is certainly very much of the erotic and sensual, but more than that as well. And its something that he knows a lot about, because of his job. And I know a lot about art, because that is my job. So the long conversations so far have been the pair of us brain storming ideas to put together for his special painting. Because I know that the various ideas in his head can be painted, and depicted as the fabulous concepts they are. And I know that there are very few other artists who could do what he is asking for. But I know that I can.

We haven't even met yet, so I don't even know what he looks like, I have no clues other than his age. I will have more ideas I'm sure when we eventually do meet, but so far we've got on really well on the phone, and both find each other really easy to chat to and open up to. But then, its part of my job and character to make people feel easy, and its part of his job to make people feel relaxed and at ease within themselves too.

And the subject matter? Well, lets just say that it involves the work he does, but more so, far more so.......

And the work?

It's massage..................

Hitting the ground running

2011-07-02T12:37:00.000+01:00

Since I've got back from my holiday I've not stopped being on the go, which is great, and I'm really pleased about. Some holidays it takes a while to get going again with the work momentum after the relaxing break (or maybe that's just the jet lag when you feel like shit because you're wide awake at 3am but half asleep by 4pm!!). But, I think it helped that on the day that I was travelling back from France there was over 9 hours sitting in a car, and four hours of sitting on a ferry, so I was able to get my mind in gear again, and think of the jobs I needed to do when I got home, so by the time I stepped over the threshold, I was mentally focused and totally tuned into the work in progress.

Which is a lovely job for me to come back to do.

It's a nude.
Of a man.
In watercolours.

Just the sort of thing, that's right up my street! :)

I'm working from a set of photos, that I took of the guy in question, as it's easier for me to do it that way. I know when someone is in a pose, it can be hard work, and the pain, concentration, need for a stretch, or an itch, shows on the face, and in the posture, and in the aching muscles. So, I made the decision to do it from photo, which I can do at my pace, and get it right for the client, so that he will look at it and know instantly its him, that he posed for it, but he won't have the unhappy memories of getting cramp whilst he did it!

I've drawn out the image, and am happy with the drawing, so the rest should follow on easily enough after that. I love the way the colours build up slowly, the highlights of pale colour on the skin, slowly building up the tones of colour to make the darks, and give the figure form and life.

And it's going really well so far...... I can't wait to get on with it!

And the sand gets everywhere

2011-06-29T23:43:00.001+01:00

I knew there were a lot of them, but I didn't think there would be quite as many as there were, in the end.

799 to be exact. Tis a pity I didn't make it to the 800 but nevermind.......

It's still a lot of photos. Of one holiday!

It must have been a good one then!!! :)

It was, actually - a very good one. A perfect relaxing holiday full of sun, sand, sea, relaxing with a good book or three, eating (well, it was France, it's expected!), drinking (ditto the last comment!!), sightseeing, and seeing parts of the world I've not seen before - so that's always a huge plus for me, oh, and being licked in strange places.......

The main part of theholiday was a fortnight in a villa 50 yards from the beach in St Palais sur Mer, near Royan on the Atlantic coast. It’s a lovely area with loads of beautifully soft sandy beaches, but punctuated with interesting rocky outcrops, and backdrops of pine forests behind, so it was quite dramatic, and even more so when the sea was crashing in after a night storm. That area is scattered with wooden shrimping huts, on stilts, along the sea shore, but I am convinced that they are only there for the tourists, since there was absolutely no sign of any fishermen visiting them, at any time night or day, nor of any shrimps, come to think of it!!!

The weather was very mixed, but I think that was better than wall to wall sunshine, because it meant days out sight-seeing. One of the high lights being a fabulous afternoon at the zoo at Palmyre (about five miles away), and I wished we’d gone for the whole day as there was so much to see and do – the highlight for me being handfeeding the three giraffes (Mummy Giraffe, Daddy Giraffe, and Baby Giraffe) their favourite snack – popcorn, would you believe! (Now, who came up with that idea?!). I loved the intimacy of feeding a semi wild animal especially when I realized that they don’t bite, but helpfully extend their very long curling blue tongues to have the popcorn placed on it, and the only drawback afterwards was that the whole of my hand was covered in giraffe slobber!!! The rest of the zoo was beautifully laid out, and well designed, and I really enjoyed seeing all the animals – especially the pretty red pandas, the manic tamarins, and the watchful snow leopard.

Other days out included a visit to nearby Cognac, a very non descript town that was overshadowed by the various distilleries – Remy Martin, Martell and the largest being Hennessy. We didn’t do the Hennessy tour but we did go in their shop, which looked like a high class jewellers shop by the way it was elegantly and expensively set out. We idly walked past the opulent display cases looking at the various cognacs in their different shaped and priced bottles, starting around £30 and then stood wide eyed looking at one bottle for sale at a thousand pounds, only to find that there was actually one there priced at two thousand pounds, as well!!! Fortunately I don’t drink brandy so I wasn’t tempted by any one of them….

There were visits to other delightful little towns as well – notably Saintes, and Pons, both of which were a surprise to find how medieval and picturesque they were. That area of France doesn’t have many English tourists, so it was lovely to be surrounded by French people eating and drinking the same things that they did. There was only one half day of rain, and after a short drive up the coast for about eight miles and a bit of a wait for a break in the wetness to abate, walked across the sodden sandunes to the sea, to watch it spectacularly crashing in, only to get battered by the wind and rain and sand in the process! The following day, the rain had stopped but the sea was still crashing in and I thoroughly enjoyed the breathless excitement of the huge powerful waves lashing against the shore.

But the sunny days were spent languishing on wide beaches slowly building up a tan with the sound of the sea filling my ears the whole time, and the sight of it reminded me how much I've missed being near it.

And on the way home, we had two nights in the area around Tours which is the start of the Loire Valley. After a small search we found the delightfully picturesque little town of Amboise on the banks of the lazy Loire river, complete with its own chateau on a prominent outcrop overlooking the picturesque shops and houses below. It’s other claim to fame is that it is the town where Leonardo da Vinci died! I’d never heard of it before we happened to chance upon it. An easy walk around it, helped to explore it further and also went to the nearby village of Chenenceau which also has the most stunning white fairytale chateau which straddles the river Chen. There are many pretty chateaux all around that area, including one that inspired the Sleeping Beauty fairytale, and I would have loved to have visited more. The pretty hotel we stayed in, in Amboise was an elegant delight, with its own pretty gardens complete with very friendly white cat, and a very welcome pool, and again we only found that by chance as we drove down a little side street.

And as always, I took photos of everything I saw... the crashing waves on the beach, the picturesque bustling towns, the ancient stone buildings, the green flowing landscape, the huge wide skies, the happy fields of sunflowers, the sparkling light on the ocean, the pale pink sunsets, the busy cafes, the people. All of it the essences of France, all of it inspirational for me to want to capture it within my paintings.

So I've come back, raring to go, and my artistic juices very well fed!

Two mermaids for the price of one!

2011-06-08T13:55:00.000+01:00

When I had a chat with erotic author Lucy Felthouse the other week about her latest book "Seducing the myth" I was fascinated by the idea of the erotic stories featuring mythological creatures within it, and absolutely delighted to be asked to design the cover for it. Its definitely my sort of book! She had let me read the mermaid story she had written which will be featured in the book, and that lead on to some ideas as a basis of ideas for the cover. I drew a very basic thumbnail sketch to show Lucy my idea and she agreed it would be a good concept for the book. Ok, then....... I was ready to start....

But it wasn't until this week that I was able to begin it. And I knew that I would have to paint the picture in a slightly different way to normal, as the three basic tones would have to be slightly stronger than I would usually do to make the picture more dramatic.

I started by choosing the watercolours I wanted to use, a gorgeous turquoise, a slightly darker greeny blue, maroon, and green gold for the mermaids tail. And knew before I had even started it that it would have paint poured on, and splatter within it, as that adds to the magical mystical feel of watercolour. The pale wet wash worked beautifully for the under water feel of the painting, and I made sure the masking fluid masked out any areas that I didn't want paint to touch whilst I painted the fluid background. And with the aid of salt and splattered paint the background worked really nicely. I painted the mermaid next as she reaches out to the man's face she can see in the water, using lots of splattered white for the effect of her fishy tail swishing around as she edges towards him. The smiling man's face was painted subtly with his features a little indistinct. A few twiddles here and there and the picture was finished. I stood back to contemplate it and looked again at what had weaved its way into the picture..... for I could quite clearly see the hint of a large skull within the paint. And I smiled to myself, because I knew that was when a picture of mine produces its own magic from something I don't plan, but it happens anyway and it always enhances the picture when it does happen. It's part of the flow from me to my artwork via the creative spirit. But, it also means that I am totally in tune with my painting as well, because even though I didn't consciously plan it, the fact that there is a skull hinted at is so right for this story because ....(oh, well, I let you read Lucy's story for yourself, and you'll see what I mean.....!).

So, that was it, the picture painted.

Except, there was still more in me.

I had a strong desire to paint another one.

But with a bit more passion in this one, some more oomph....

So, I started afresh with another piece of watercolour paper, more or less the same colours (but without the maroon, and using burnt umber instead), and wet the paper and started with the windsor yellow of sunlight filtering down, the turquoise of the water, and adding more swirls of white and movement with this mermaid and man. They are totally in tune with each other, they are lost in their own world of lust and love, as they caress and swim energetically through the depths of water. I like this painting also, it's more erotic and sensual..... but it hasn't got the depth of magic in it that the other one has.

I'm pleased with them both though.

Oh, and the titles... the first one is called "Seducing the myth, gently" and the second one is called "Seducing the myth, with passion". The same concept, the same subjects, just both done in slightly different ways to get the point across.

Now I'm just wondering what the next mermaid picture will be, I do love doing em!

............

And as a post script - I've just had Lucy's conformation that she loves the "Seducing the myth, gently" painting as well, and we are in totally agreement that it is that picture that is the right one for the book cover! She says its going to be fabulous! So, that's great to hear, and we're both happy!!! Result!!!

Looking back

2011-06-03T12:34:00.000+01:00

Looking back, at the time of the exhibition I didn't particularly think of it as a good one. I hadn't sold any pictures, and that is usually my marker for a successful show. But I know that that is sometimes the way of these things, and at least I had had really good responses to the work I had taken. And overall the whole group hadn't sold a lot, but that sometimes happens too.....

At least I had taken some cards and they had sold, as they always do, so I had a bit of income back to set against the hanging fees, the effort, the time, and energy I had put into the work I had exhibited.

So, I might have driven away from the exhibition a little despondent, a little more muted than I had cheerily arrived there at the start of it.

And arrived home to put my artwork away, sort out the unsold cards and got on with the mutae of life as one does......

But, what I hadn't realised was the seeds I'd set.

The ones that start with a business card..........

During the week I had two phone calls. One from Stuart Haywood the South Derbyshire historian, who wants to be drawn by me again as he loves the other artwork I have done for him, and seeing my art and me in person had prompted him to commission me again to draw him. And there was another idea he had for a painting too, but he needs to sort out some old photos before I can do that for him, so that will happen in due course.

The other phone call was from a middle aged chap who had picked up my business card and contacted me with a view to me doing a watercolour of him in the nude. He came in the week for me to take more details and to discuss poses with him. As he was about to disrobe he hesitated and said ...."Er, I've...... got ....pierced nipples..." to which I replied, with a grin "That's fine, I've seen worse..... " to which he ruefully replied "Well, I've had that pierced as well, but I took the ring out....." And I replied with a bigger grin "Well you could have left it in if you'd preferred...." But, no, he was happy with the way he was. So, that is the next painting in the pipeline, sooo to speak..............

And just to add to the joy of a busy week, I received the same email that the secretary of Ashby Guild of Artists sent out to all members. And in it I read that the slips that had been given to all the visitors to the exhibition asking them to name their favourite painting at the exhibition, which made them look at them a lot closely and interact with the show more, had been totted up and the results were..

"You will see that Jackie's "Looking Back" was clearly the public's favourite picture with 19 votes, her overall votes being 25. It is interesting to see that nearly everyone was represented which shows that the general standard of the exhibition was high (and some actually said that on their slip). In perhaps half a dozen cases out of the 228 slips received, people selected more than one picture and prioritised their vote, so in true British tradition a 'first past the post' decision was made in those cases."

So, that certainly made my day, and made my week!!!!!! YAY!!!!!

So, I will show the drawing here. It is a pencil drawing on cartridge paper, and about as far away as you can get from erotic art! It shows old age, and a life lived shown in the lines and marks of the graphite pencil. It is a picture I am delighted to have drawn, and I took many hours to do it. But I will also mention that I am very aware of copyright issues, and the drawing I did (some time ago) was done from an image I didn't take. I have no idea of the photographers name, or how old the photo is, so I can't credit them with it.

The picture is here, and is very aptly named. It sums up my week, as well as being totally apt for the drawing, and the subject matter....... It's called "Looking back" !!

Too much, its doing my head in!

2011-05-31T16:13:00.000+01:00

I was part of a local art exhibition at Ticknall Village Hall in South Derbyshire over the weekend. It was the usual concentrated job to get the artwork ready, set it up, sort out the admin for it all (title cards filled out, hanging fees paid) and then go and hang them all, and catch up with the chat of all the other artists there. We are a mix of amateur and professional artists from all walks of life who have a passion for art and are supportive and helpful to each other whilst trying to promote art in the area. Some of the artists teach, some paint just in their spare time. We all paint differently, of different subjects so its certainly a good selection of artwork for any of the general public to come along and view.

I was there on the Saturday afternoon doing my stewarding stint for three hours. There were a few people through the door, but the majority come along on the Sunday and Monday traditionally, so it was as busy as I had expected it to be. I was delighted to see Stuart Haywood there with his wife who had come to see my artwork in particular since they are such big fans. I've drawn Stuart six times now, and he is most proud of the pencil drawings I have done of him and proudly shows them to most people in his life. He's a great walking advert for me. He was most interested in a pencil drawing I had there of an old man's face, and stood studying it for a long time. I tried my best to sell it to him, but he wouldn't be drawn (ha ha, artist's joke!!!!). But there was another idea that I may have talked him into, when we got talking about old potting sheds, because that was something he was excited about since he is quite the horticulturist with his huge knowledge of roses. So, that looked far more favourable for me doing a commission for him in the near future.

I also had a most interesting conversation with a youngish woman there who only got in as we were about to shut. She had been last year and wanted to come again as she knows we have a high standard of artwork there. She paid for two on the door, although she was alone "Its just you and the invisible man then is it..?" I asked cheekily and she explained that her husband was on his way, and he did duly arrive a few moments later limping heavily and leaning on a ski stick. They looked at the art, and my art in particular and asked me if there were any pictures of naked men there, which amused me, as I do erotic art, although they wouldn't have been aware of that. I went over to chat to them, as they stood by my paintings on display and she and I had an in-depth conversation about art. She liked the pictures I'd taken, of a cat, cheetah, fairy, old man, castle, flowers, an abstract of sun on water, a fantasy woman with wings painted in watercolours, acrylics, pencil, pen and ink. And I made the comment that I say alot, that I do so many subjects in different styles, with different mediums that its easier for me to put the title "Erotic Artist" to myself because by the time I've explained things otherwise everyone has lost interest in listening! I also went on to explain that galleries don't like my work either for the same reason - its too diverse, I really need a gallery for the cats, one for the fantasy subjects, one for the landscapes, one for the erotic, etc etc. She nodded, and looked back at my work and said "It's giving me a headache!" and I asked why, since she seemed to be serious,"Because there's so much to look at, and all so different, look at this one, its great, but next to that one which is so different, its not standing out as much as it would being on its own". And I could see what she meant. I know I am diverse in my subject matter and mediums, and that shows how good I am, but it also confuses my audience. I can't win!!!!!

She left at the end with a big smile, and said she'd look at my website, in which case she'll fine more to confuse her. But maybe, she'll find something to excite her. And maybe she'll find something that might set a germ of an idea off for something important in her life that I can draw for her.........maybe.....

Business with Lucy in the very erotic style

2011-05-26T11:28:00.000+01:00

My good friend Lucy Felthouse came around last night, and as always was a joy and delight to be with. I know it is technically a business meeting, and most of the night was actually discussing business, although anyone else listening to the subject matter would find an awful lot to be titillated over, for certain. But that is all very normal for us, in our line of work, since I am an Erotic Artist, and she is a Erotic Writer, although both of us are perfectly capable of doing non erotic subject matter within our scope of work, we both enjoy the erotic stuff, and it seems to be the way forward for both of us judging by the fan base of people who are interested in our work and are happy to part with their money to prove the point!

Part of the nights discussions was of us collaborating on an idea where we can work together on a project, since Lucy as asked me to design the front cover of her latest book, and I must admit she couldn't have asked me to do anything I'd like to do more, since she wanted one of my favourite subject matters painting. She had emailed me the first draft of the story she wanted me to illustrate earlier in the afternoon, and I had read the short story and been intrigued with it, partly as she had written it from the man's perspective, and partly because I loved the idea within the tale. In my mind I had envisioned the scene, the surrounding area, and the action that had taken place within it. When Lucy came over later that evening we discussed it, and I described my thoughts regarding it, and to help me to understand it better she showed me photos she had taken of that specific area of water in Derbyshire that is featured in the story. But when I saw it, it took me aback, as the place was far bleaker than I had imagined, and had no trees there, not one, and yet in my version of it in my head, there were loads of trees, tall ones, a whole wood of em! So from that knowledge, and her knowledge, we sat down and talked it over, and I asked her her ideas of what she had thought about the picture, and I explained my ideas, and very quickly we were in agreement of the image that would work. And its one that I find very exciting....

.....I'm not sure how much I can say about the book before it is published, but my part is the design for the front cover that is featured in the story Lucy showed me yesterday, a very sexy story about an inquisitive man and a mythical creature, an illusive creature, a mysterious creature of water, but not of the sea, although she is still a mermaid, and I find mermaids very sexy as a concept and absolutely love to paint them. But also the image has to bear in mind that it needs to be clear on a cover of a book, it needs strong contrasts, and sharp detail, and enough room within the image for the title and authors name to be printed on. Plus, even though its got erotic content inside the covers can't be too naughty, so I'm going to have to tone that down a lot, unfortuantely, but it's not a huge problem to do. So, that's my next project, and I shall love doing it for her, and I'm all fired up over it and can't wait to get going on it!

But, the next couple of days I need to get ready for exhibiting at Ticknall, in South Derbyshire, as I am part of Ashby Guild of Artists exhibition at the village hall there over the bank holiday weekend. It's an annual exhibition and one that I am always happy to be part of, and see what other work my fellow artists have produced in the last few months. So, if you're able to come along, please do so, it would be good to see you there, and we are pleased to announce that the charity we are donating to this year is "Fishing for heroes". So, its for a good cause, and we'll also be serving some delicious cake and tea or coffee, which makes for a very pleasant trip out in lovely rural surroundings. So, mermaids will have to wait a day or too, but I'm sure they will be as fresh in my head then as they are now.... fresh, sexy, alluring, and very very sensual.....

Floral muddles

2011-05-24T17:20:00.001+01:00

There is something I have in the past struggled to paint, a subject that should be easy, and is certainly one that a lot of people enjoy painting. It is a subject that is probably as far away from figure painting that you can get. Which is probably why I have struggled on some occasions with it! Because a lot of artists will do landscape paintings, but usually only a few will do figure paintings as well (I know of some artists who are more than happy to paint fields, trees, sky, buildings, water and far hills, but the minute you mention putting people in the picture they shudder at the thought!!!). But this is a subject that is more specialised, and one that I am certainly not known for!

And the mystery subject is .............."Flowers!"

So when I knew I was going to the art workshop last Saturday I thought that this time I would get it right, I would get over my supposed flower phobia, and do something decent. I even did it all the proper way and picked some flowers from my garden - the previous owner, Anne, had informed me they were "Scabious" when I enquired what they were, as they weren't a flower I knew. So, I turned up at the workshop with my freshly cut flowers, and sat near my friend Janet, who came over and said "Oh, what unusual Cornflowers!" which lead on to us having a bit of a horticultural conversation as to whether they were Cornflowers or scabious, and I'm still not sure, as I haven't had a definitive response to my query as to what they indeed are.

I started by arranging my three flowers in the glass vase I had taken for that purpose, and finding the right balance of shape, form, contrasts, negative shapes, and focal point, and then when I was happy with all of that, I started to draw them on the watercolour paper that I had pre-stretched the night before. The tutor prefers Bockingford paper for the white-ness of the paper, which suits me fine, as I prefer it to any other paper that I use, by a long way. She showed us how she paints Wisteria in two different ways - by wet in wet, and by wet on dry paper, both showing different ways of tackling the same subject. And she was the perfect sort of tutor as far as I was concerned, as she didn't spend all day painting herself (well, not herself as such, but you know what I mean!), and let us have most of the day painting ourselves (well, not actually painting our bodies, but..... oh, you know!). So, I was able to take her guiding words to use for my flower painting of the "purpley flowers of no definitive name" and get a good lot of painting done in the day. But, not enough to finish it, but almost to do so.

I brought the painting home triumphantly, as I knew that I had done a good job. I had cracked the flowers!!! YAY! I can paint flowers!!!!!!

And last night continued working on it, to the point where I can happily say it is finished, and done in my style, with splatter and a loose wet way of painting part of it, to make it look more lively, and less of a static botanical painting.

I am very pleased with it, with the flower heads, full on, three quarter profile, and full profile, as well as the flower head just about to burst open. And the different leaves, denticulated in shape, with veins showing, and the stalks, with enough negative shapes to make the picture interesting. One of the women at the workshop said that her brain "couldn't do negative shapes" which surprised me, as I learnt to do it many years ago, and can do it easily now. Its just a matter of looking at the shapes in a different way and painting the shapes between shapes, instead of the shapes themselves.

So, here it is, my watercolour painting.

And its title? - well its called "Anne's Scabious, Janet's Cornflowers" and it'll stay with that name even when I find out which one of them is right!!!

So, flowers, done. I can tick that box now!!!!! LOL

Queynte 21

2011-05-20T19:25:00.000+01:00

Here it is, painted in acrylics, on board 20 x 16 inches, the latest Queynte to join the illustrious group of very feminine portraits that I have painted -otherwise known as the "Fantasy Fannies" . Its the twenty first one I've done, so it's called "Queynte 21" quite naturally. I love the mixture of strong colours against the strong shapes of this one. And as always find the more I look at it, the more I fall in love with it, which I know is often the case for the women who have had their queynte painted from the very positive feedback they've given me over the last few years since I started doing them. I know that most women find the process of having the painting done a deeply therapeutic experience, and that they feel empowered by them, and that it showcases the woman that they are, the private woman within, but here for the whole world to see. I love the fact that they are a celebration of womanhood, and are bright and vibrant and beautiful. And although they are an abstract the shapes are true to the feminine form, its just the colours that are more striking than the original colours. And like all the others it has the image of a woman within the picture as a reminder of what the image is about, and what it is there for.

I don't need to say the name of the woman who has participated in having her portrait painted, or say where she lives or even what her nationality is. That is for her to say, if she so wishes. I will keep her anonymity otherwise.

I love doing these paintings, as a woman artist painting them for other women around the world. The majority of the women who have participated I haven't met face to face, I wouldn't know them if they turned up on my doorstep tomorrow, but I feel that we are part of a sisterhood, of women who want to be depicted in strong vibrant colours, and want this spiritual experience to mark that empowerment. So, who will be next I wonder.......

Alcohol is the answer, now what's the question?

2011-05-18T17:25:00.000+01:00

Sometimes you wonder if its all worthwhile. All the false starts, perplexing information, opposing information from two unconnected sides, and me stuck in the middle. All I'm trying to do is knit two sides together, with two simple actions, that should be the easiest thing in the world to do. And I wouldn't mind, but I did it all four years ago anyway! There's these two huge organisations, and little me stuck between them, trying to get things working happily between them. And none of it is anyones fault, and no one is to blame, which probably adds to my perplexed state! Let me explain.....

It all started about four weeks ago when I tried to take a small amount of money out of my own personal bank and pay it into Paypals account to pay for something I'd ordered online. I like Paypal and find it a very useful way of paying people, and receiving money. A simple matter you would think, except it seemed to cause them some problems and they said they'd paid it but then said I'd have to reconnect my bank account to them. Which I did. But although they said they'd done their side of the bargain by depositing two small amounts into my bank, the bank said they hadn't received it. So, I did it again, and again Paypal said that they'd paid two small amounts into my bank, and again the bank said they hadn't received it. And, even a third time, and still it didn't work. And we were three weeks down the line. HHmmmm.... Why isn't this working? So, it seemed the best option was to use another bank account and try again. Which I did, last week, and eventually all seemed right in the world of commerce and the two small amounts duly arrived in my account as promised. Great, a result! It seemed a small thing then to inform Paypal and they were happy and immediately told me that all was right between them, me and the bank. Yay! Lets all dance the happy dance. So, just because I like to be sure that all is as it is said to be, I double checked it by transferring a small amount out of the Paypal account into the new account. And it said it had done it, Yay, even more happiness abounds! I carried on doing the things that made up the day, and lo and behold within half an hour had an email from Paypal saying that they had closed the link to the bank as its not valid................ Whattthef...? and more to the point, where's my money gone? A long phone call to the bank (four miles away) and Paypal in Luxembourg (a little further away) and it seems that the bank don't know anything about it, and are as perplexed as I am, and all is fine as far as they are concerned. Ok, then, what seems to be the problem with Paypal? They also seemed to be perplexed too, and said that the bank details aren't valid. But, logic tells me that it must be, because how else could they pay the two small amounts into my account...mmm........? And then we had the simple little question that I didn't fully understand at first, since it didn't have any relevance in my life - and that was whether it was a "savings account" or a "current account"? I don't know, they're both bank accounts, what difference does it make, they both take money, are both with the same bank, and both seem to look the same, other than the account numbers, what does it matter? But, it does seem to matter, and does appear to be the answer to the mystery of the knitting! I came away a little more enlightened, and rang the bank again to ask them if that was indeed the case, and it seems it might be, although they seem to think it shouldn't be! So, then, what's to be done to solve the mystery, and get these two organisations talking to each other....... and it seems to be to me to create a new current account, one that everyone is happy fits the criteria to cause happiness and harmony in the land of commerce. So that's what I've done. And if it doesn't work this time, heaven knows what the answer is. Ask people to pay me in buttons maybe, or
goats....

You wouldn't think buying a simple little wine rack online would cause so much trouble, would you!

Pick a price and pick my brain

2011-05-13T19:47:00.001+01:00

In the last two days I've had two similar conversations each with a man I don't know, and they in turn don't know me, particularly. They don't know my name. They don't know what I do. They don't know that I am an artist. And whilst I was having these two conversations, 26 hours, and four miles apart, they both used the same phrase to me. They didn't know that, since they don't know each other, and can't possibly be related. It was a phrase that they used that they were used to using, and was the natural thing to say to me, once they had asked me what I do, and I reply, simply " I am an artist." And their reply? In unison, was "My uncle is an artist, he sells his paintings for a lot of money". "Really?" I ask, semi interested in their version of "Lot of money" and wonder what they actually mean by it, and casually ask how much of the first guy. And the reply, was a good one "Fifty" and just as I double check that he doesn't actually mean fifty, he confirms and says those lovely words ".....thousand" and I nod in understanding. And then, the other guy tells me his uncle is a famous artist, and the conversation returns to the same one again when they mention the famous artists name. And I've NEVER heard of them. I don't know their work, style, subject matter or anything about them. And then they both said, in this parallel conversation "He's good!" and I said "So am I!" with a grin, and they are taken aback by the quickness and directness of my response, and say "I'm sure you are" and I nod, and add, "Its just that I don't charge those sort of figures......... y .e. t...... " and they grin back. Same conversation, same message, just different days and the illustration of the way an artists life progresses, in small steps to get to the big picture.

My friend K dropped into see me yesterday afternoon, he's someone I have drawn every so often and someone whose company I like very much. He had called for a cup of tea, as he had a personal problem he wanted to discuss alone with me. He arrived full of good cheer as he always does, and we talked about various things like we always do, he admired the Royal Crescent at Bath painting, and the latest fanny painting that's half done, and then we sat down over mugs of hot sweet tea, and shortbread fingers, to discuss his dilemma. It was something he had been mulling over for some time, something he had shut away for way too long, as he found it a huge problem. He showed it to me, revealing bits at a time, explaining as we went along what was what, and where he wanted to put it. He showed it to me at various angles, and I peered closer for a better look, intrigued with it. I could see exactly what he wanted, and I could see how he could get it. And I so wanted to get my teeth into it. But, it's not for me to do. It's for him to do. But I can lend a hand, but it's his design. And it will work as a great idea. He knows how to do half of it, what to put where, and how, its just that he needs my help for the other half, the bits that join it all together to make it complete. I know how I would do it, and I know its very do- able. I would love to do it. But in this instance, it's not for me to paint, its for him to paint, with me as artistic advisor. And I'm all fired up with it already, and I know he is too. So I really hope he can soon get it started and I shall be intrigued to see how it develops. I can see it finished in my head already and he hasn't started the first line of pencil on paper yet. The birth of an idea.......... I look forward to seeing it come to fruition, and helping to play midwife to the concept so that it sees the light of day.

Circus skills

2011-05-10T15:37:00.000+01:00

I'm doing a lot of pedaling at the moment, and have a lot of balls of different shapes sizes and colours in the air, so much so that I feel like a circus performer (and you can never find one of those when you want one! ha ha).

I'm in the process of updating my website, and the pre-questions always seem to take longer than the actual doing of it. Where do you want the webhosting, what do you want to pay for it, how much space will it give you, what language do you want it in, do you want the blog to be part of it, do you want it all singing and dancing, and do you want it with lots of shiny bells on it so you make loads of money from it (YEP!).

And I've just updated my SAA page - as a Gold member I get lots of benefits of being with this art society and have always found them to be helpful and supportive to me. They've recently updated their website which has meant extra work for me to do to update my details.

As well as that I'm trying to learn how to sell things on eBay, which is an interesting learning curve, and eventually I want to sell more of my original art and prints that way. I had a look at the erotic art for sale on eBay over the weekend and thought a lot of it was dire. So, I hope to rectify that soon and get some of my art out there which will raise my profile as well.

I also put my hand (and head!) to teaching art over the weekend and had a willing pupil to practice on as a first time lesson. During the session I found out how much knowledge I have (lots!) and how much knowledge he had (none!) and realised how much information I had to impart to get a reasonable result for him. The painting isn't finished yet, and I hope we can persevere with it as that will show me that if I can teach him, then I can teach anyone. That wasn't supposed to sound patronising, as although he would like to paint, he has never done so, so we were really starting from the very basics. Normally people who want to paint have had some basic lessons or ability.

And as well as all of this, I have put some advertising notices around my village promoting my art in the hope that I will get some work from it, not helped by the fact that five days after I did it, one of my adverts had been covered up by someone elses advert looking for a domestic cleaner for their house. Cheeky sod, find your own place on the board that doesn't cover up someone elses advert!!!!

And as well as all of this, I have been looking at possible venues for me to find for exhibiting. the right sort of venues, for my art. And that might sound simple, but believe me, its not......

So, its been a busy last few days.

Now, where did I put that unicyle.....

Another fanny on the horizon

2011-05-06T16:28:00.001+01:00

I had a really long chat with my good American friend from across the seas last night. Well, nowhere near the sea as far as he is concerned, and nor me either come to think of it! And although there were many miles between us (and a lot of ocean!) he could have just been in the next room to hear his voice. We talked of various things, and people in our lives, and have many similarities and similar interests in common, which is probably one of the reasons we get on so well. But, the first thing he wanted to mention, with some intenseness of urgency, was the last painting I did, of the Royal Crescent at Bath and the various people depicted within the oil painting. He reads my blog, and follows my art with avid interest, and was aware of the latest painting I was working on, but until I showed it here, he hadn't got a clue as to what it was reeeally going to look like (any more than anyone else had, other than my description of it here, which didn't fully describe it other than the bare bones of it). So, when he saw it for the first time here, he was taken aback by the colours, the feel of it, and the detail, and the work that had gone into the painting. I think I sometimes forget that because I'm working on it, and describing it in words to people, that really they don't fully comprehend what it will look like, until they actually view it. I know when I have a painting to do, whether it's for a commission, or for an exhibition, I have a definite and intense thought of how to start, how I want to lay out the composition, what colours I shall use, the tones, and siting of the lights and darks, and where the focal point will be, but after that I work on it as I go along. MMm..... no, that's not exactly right, as that sounds like I haven't got a clue as to what I'm doing or how. And I have.

Let me explain it a little better......

I spend a lot of time thinking about my artwork, nine tenths of painting it is the thinking aspect of it, no matter how many actual hours I put into painting it, it has far more thinking put into it. And that thinking will start with the practical ways to start it, but I don't have a finished picture in my head (unless its exactly a copy of a photograph depicting a place, or person in which case it will look like the image I'm working from!). But after that, once I' ve started, I will be thinking whilst I'm painting, I will be thinking when I have a tea break, when I'm having my lunch, or a walk, when I am watching TV at night later on, even if I'm out with friends in the quiet moments between conversations, when I am in bed falling asleep, and when I wake the next day, and so on, and so on, until the painting is finished. In in all that thinking, I will be assimilating ideas, working on colours, on the design, on the textures, and thinking of previous paintings I've done, and the experience of all of those, and using all that artistic talent and my huge experience to paint this painting, and add the artistic bits that make the picture more interesting and dramatic. So, its no wonder people don't have a clue as to what my painting will look like, since its all in my head, until it gets transferred from there, down on paper or canvas.

Towards the end of our conversation, he asked me what my next painting would be. And I smiled, and said that I wasn't fully sure. But, that wasn't actually true, because I know what I shall paint next, it's the one after that I'm not fully sure of!

Because, the one that is next, is one that I have been wanting to do for some months. One that I have been waiting impatiently to do. One that I shall LOOOVVVVVE to do. As its one of my favourite subjects.

And the subject matter?

Oh, I think you can guess......

It's another Queynte.
To add to the collection of "Fantasy Fannies". And I think you might have clue as to what that will look like! But not the colours I shall use. Not the shapes within it. Not the end result....

Not at all Jaded - the opposite infact!

2011-05-03T12:42:00.000+01:00

I've just been featured in the May edition of Jade magazine! YAY!

It's regarding the talk I did at Burton Library in March, and they've printed all that I wrote and featured here the other week, so I don't need to print it all out again since the link is here.

But, its good to see my name in print, and to be featured in a magazine again. And it's always interesting for me to re-read an article that I wrote and to see that it's getting all the points over that I intended.

And I'll put it on the publicity page of my website soon, so you can read it there too!

:)

Mothers, brothers, and tears

2011-05-02T17:58:00.000+01:00

I had visitors over the weekend.

Well, technically, they weren't really coming to see me as such, as in a social visit to see how I was. They were actually coming to see themselves.

In paint.

David and Martyn came all the way from Bath to view the painting I'd done of them. They had made arrangements to stay in this area and brought along Martyn's parents who are also depicted in the painting.

They arrived full of good cheer, and it was a delight to see them all and welcome them in to my new house. They admired the paintings hanging on the walls of my hallway, which I count as my mini gallery, and then looked askance at me. Where was it?

I smiled, and led the way to my studio, opened the door and was hit by an overpowering smell of oil, turps, and paint. And said that I was pleased that the painting had now been hung and was residing upright on the wall rather than horizontal on my workdesk. And nodded towards it, although I didn't really need to do that, since it was quite obvious where it was. "Oooh it's big, bigger than I thought!" was the first comment, and they stood looking at it in silence. Then the comments started as they took it in turns to stand away from it, to view it better. They asked for the piece of wallpaper they'd sent me to view the painting against it, and could see that it would be fine against the heavy patterning. They were surprised at how deep the canvas was at 3 inches which is a bit deeper than usual, but it added to the dramatic aspect of it, and their room was easily big enough to take it, and it added to the viewing experience in that where ever you stood or sat within the room the painting would be in 3D because of the deep edges.

I showed them the working drawings, and the preliminary sketches I'd done. And described the painting process of the acrylic underpainting, the thicker coats of acrylic to give the oils depth, and then the oils themselves, the the silver paint of the jagged wind applied with palette knife. As were the thicker parts of the paint to give it more texture.

They loved it. All of them.

But, the best bit, for me, was the fact it caused tears and upset. Instant tears on the first viewing. The tears of a mother as she sees her first born depicted in paint, her first born who although a man died too young, way too young. That's something that no mother should have to experience and is tragic for any woman to have to contend with, and will probably never fully recover from. So, when she burst into tears at the first sight of it that was the best reaction there could have been for me. Because it meant I'd got it right, it meant I'd got the right feeling in the picture, it meant it was the right face, the right expression, the right depiction, and the tears were the best affirmation for me, to prove that. A mothers tears for her first born. And I'm sorry that it made her cry but pleased as well. Really pleased!

After that, the positive comments, the hugs of thanks, the smiles of wonder, the silence as they stared at it, and the words they spoke afterwards, added to the whole wonder of me making a painting for someone. A special painting, that means so very much to them, and always will because they designed it, picked the subject matter, colours, setting, that it would be in oils on a large block canvas, that it would have various family members in it, that it would be a happy painting celebrating their past, but looking towards the future too. They will spend many hours staring at the painting when it goes to hang on their wall, and will love it.

And I stood there, quietly pleased with myself that I'd done it for them, and that they had asked me to do it. But then, the mother said she knew I'd do a good job, and named the other paintings I'd done for the family in the past. Paintings that they still have on their walls, treasured paintings, bringing love and happy memories... I'd forgotten about some of them, since it was so long ago that I did some of them, but remembered them instantly when she named them of course, they are my creations, and well loved by me as much as them.

We had tea and biscuits after that, and sat chatting about many things, life, love, friendship, fun. And all of it was done with laughter, and an ease of jovial conversation when you know that everyone is on the same wavelength, and of a job well done. And they are convinced I will get more commissions through it, as various friends of theirs are intrigued to see it, and have heard so much about it. I hope so, that's always my desire.

They didn't take the painting with them, it stays with me a while longer whilst its still drying. So, I have the pleasure of it, before it goes to Bath to live.

And maybe it'll be the spark of a new idea, a new painting, not yet painted, but just a thought, in someones head....

The end of the Royal and the beginning of a new one

2011-04-29T17:44:00.000+01:00

Now I've finished the oil painting of the Royal Crescent at Bath I can get on with something that is long over due.... something as important as painting, and exhibiting, and promoting myself as an artist...

And that's updating my website. Its been long over due whilst I sort out my life and get sorted in my new home. I've been in discussions with my webmaster and he and I are in agreement of the best way forward for it. But it probably means finding a new template for my new website. He showed me one last night that seems to be ideal, although until its all set up and running I can't fully tell. But, it is only the basis of the website, and I can personalise it as much as I want or need. But I also know from past experience that it also takes a lot of time and effort to get it up and running. That's ok, I don't mind that, as its my advert for the world and to the world. And if it makes the art more accessible, and attractive, and sells more of it, then that's got to be a good thing, surely. I've not put my prices up in three years, but they will be going up in the very near future...... so, before that happens, and before I update my website, please take a good look at it, and if there is anything that catches your eye that you want to purchase, let me know as soon as possible! www.jackieadshead.co.uk

Earlier this week I had an unexpected surprise in that the people I bought the house from called in to see me. I knew he was calling in to pick up something from me that he needed urgently, which had been delivered to this his old address as modern technology doesn't allow for some address changes to happen quickly for some daft administrative reason known only to them, but I hadn't expected both of them to come, and was delighted to see them, and delighted that they wanted to both come and see me. I welcomed them in with a hug, and a kiss, and over cups of tea and coffee, showed them my artwork hanging on the walls, and the new painting I've finished recently, and finally got to be hanging vertically on the wall whilst it dries. They admired my taste in art, and we talked of many things. It was good to show my new house (their old one!) to them, and to show what I've done so far. Still a lot more to do, but it'll get done in time.

...

I watched the Royal Wedding this morning and loved the pomp and ceremony of it, the sense of history that England is so good at. It made me smile, and feel proud to be English, and to celebrate the start of the marriage of Prince William to Catherine Middleton. I was very taken by her poise, her elegant looks, her relaxed demeanour, but her sense of duty for her acceptance into the Royal family, and being married to a future King. But, most of all, as I sat and watched her, I wanted to draw her, and put all of it into a painting of her. She is truly beautiful.

April light, saints alive and time travel

2011-04-25T23:37:00.001+01:00

It's been a strange weekend.

It started when the Vikings came to town.

They seemed a nice bunch of lads the night before when they'd been supping ale with the locals and dancing on the village green. They'd brought their own tents so it wasn't far for them to stagger afterwards, so that they'd be ready for the big fight on Sunday. They might have been a motley bunch, but they were dedicated to their craft, and put on a good show and since it was Easter Sunday, they did their own version of arising from the dead without any discernible wounds to show. St George was there as well, along with his trusty steed - except it was a she, not a he - St George that is, which was a little odd, but no one seemed to mind much. The dragon turned up as well, I'm not sure what sex that was, but I must say, that after watching enough sword and sorcery movies over the years, I was expecting something, a little more, well, scary, really. Something with real teeth, and claws. Or at least some smoke. And not a painted cardboard box head, and a green blanket for a body, and the legs of two guys underneath, in shorts. But still, it was good for the village, and fun for the kids, and everyone seemed to turn out, so a good community spirit for the big weekend combining Easter and St Georges Day.

I was happy to have the weekend off from painting. Well, actually it became a good DIY weekend, and some long awaited jobs got done around the house, which will make my life easier in the long run, and I'm all for that.

So, that left today. A bank holiday, and nothing planned. No friends to see, no day out planned. And certainly not taking the car anywhere near the sea since the roads are always gridlocked on days like this. But the sun shining brightly as it has done for the last three weeks, and the day beckoning me out.....

I needed a walk. Somewhere without bank holiday crowds, or the need for a vehicle.

I left the house with camera in hand, just in tee shirt, jeans and walking boots, and headed out of the village, into the late afternoon sunshine, following a route I've done many times since I moved here. Along past the old cottages, past other houses large and small, and up along the side of the road out and up the hill, and it was at that point that I veered off to the left up a footpath, new for me, following it until it crossed another, and then became a bridle path, and then came to another. I turned right, up the hill, and stopped at the side of a blue bell wood, the flowers full and delicately scented in the warm April air, the light low through the trees casting diagonal shadows through the long grass. After a moments pause, to admire the interplay of light, I carried on along the wide dusty path, seeing a small cottage in the valley below me, and coming to a jumble of an ancient farm ahead, the path veering off again to the right, and across a small field, and over a stile, and diagonal over the next meadow to the hedge, and then I could see where I was headed as I recognised the familiar road again. Too soon to head home yet though, and I turned right along a bumpy track and dissected the path I'd followed about forty minutes earlier and this time went down the hill, along the dusty track towards the edge of the large bluebell wood. I didn't want to enter it, as I shall save it for another day in the near future. I wanted to see where the track was leading me, it went on, beckoning me at each turn, drawing me on, the sunlight on the ground interspersed with shadows from the trees and hedges at the side of the pathway. It was wide enough for me to walk easily, and I carried on, and on, taking photos as I went, of the trees, and the light, and the bluebells. There were many other interesting paths off on either side, and I will happily investigate them on future walks. But today, was about this dusty walkway, and where it went....

Onwards, into the sun..... the time gently wore on..... the countryside lush and green on either side...

And as I turned a bend, I came across one of the things that I had least expected. If I'd expected anything...

Bison.

What the f....... ! Er, what are yooooou doing here.......?

The bison just looked back at me, with the blank stare of being used to being there, and not as perturbed at seeing me, as I was of seeing them. I stood for a while, since I don't recall seeing them in the flesh before, and then I carried on with a smile, aware that the next field was full of deer, and amazingly the one after that was full of lamas. Where on earth have I walked toooooooooooo?! I know it was a long walk, and a long track, but still, not as far as the Americas, surely!? LOL

I had to turn back at that stage, unfortunately, and leave that question for another day. It was getting late, and I noted the time and headed back the way I'd come, taking loads more photos as I went, in raptures over the low light, and the sunlight back lighting the leaves through the trees. Wow! I want to paint all of them, I am sooooooo inspired to paint everything I see.......!!!!!!

The magic of the weekend wasn't the dragon, or St George being a woman, or the fighting vikings coming back from the dead, or even finding bison where you least expect them in the middle of the English countryside.

No, the magic, for me, was the light, low and bright, through the leaves on the trees....casting its magic for an artist to see!

Royal Crescent at Bath - past present and future

2011-04-22T18:28:00.002+01:00

When I was first asked by David and Martyn to paint a large picture for them, I was more than happy to accept. I would far rather do commissions than exhibition work, because then the client gets exactly what they want, and I tailor the painting to fit their needs. and I do this by listening to what the client wants. Sometimes its a short request, sometimes it's a longer one.

The brief was to depict them both walking infront of the Royal Crescent at Bath, on a windy Autumnal day, their three dogs with them, and the parents of one of them off to one side accompanied with their dog, and the sisters and their husbands of the other standing some way back in the background. As well as that, there would be the brother of one of them and the mother of the other, both up in the clouds to show that they are no longer with us, but are close in heart, mind, and soul. The colours of the painting were to match the particular colour scheme of their sitting room, and preferably weren't to have much green or blue in it, which made it somewhat interesting, as half of it is sky, and a good third of it is grass! As well as that they wanted the painting to be dramatic, and not be lost against the strongly patterned wallpaper of their lovely period house. It was to be in oils, and show movement as the wind picks up the leaves and blows them across the grass. And there were to be eyes in the trucks of the trees, showing happiness.

Ok, all of that is possible.

It helped greatly that they sent me a large selection of photos to work from - of themselves individually walking infront of the Royal Crescent at Bath, and of their dogs, and the other people in the painting. They also kindly sent me some pictures of the room where the painting is to hang, so that I could bear that in mind for the positioning of the colours and edges of the painting. Its on a block canvas which is 3 inches deep, so it will stand nicely against the patterned wallpaper and not be lost against it. I was to be working with browns, creams, plums, purples, reds, silver, white, and black.

So, I knew who I was painting. I knew the setting where I was painting them. I knew the palette of colours I was working to. I knew the size of the painting (31 x 47 inches) and that it would be in oils.

But, to start with I wasn't sure how I was going to show the wind.

And then, it dawned on me. I would paint the wind as an entity all of its own. In silver, since that was one of the colours requested. The wind would start high up on the right hand side of the painting, and swirl around and across the painting, swirling around the people in the foreground, depicting love from the beloved people in the sky, and movement of the wind as it swirled the leaves in the picture as well.

I started with a simple pencil drawing, and that went on to another pencil drawing which is the first picture I am showing here, and that is the image that was transferred onto the canvas and then I started the acrylic under painting of garish colours you can see in the second image, to give the oils a depth of colour. And only then I was able to start the oils proper and that evolved eventually to the finished subtle painting as you see it here. Its had many hours of work put into it, and I am delighted with the result. There is a lot of texture in the paint, particularly in the silver of the jagged wind, and the oils have really lent themselves to the movement and texture of the grass and leaves and some of the clouds. If you click on each image you can see far more of the detail in the pictures. There are a lot of colours even with the limitations of the palette, and a feeling of distance through the aspects of the wind and clouds. I love the bright red of the shadows of the foreground around the main figures, and the curvature of the Royal Crescent. There is a large Wow factor about the painting, for me, and its certainly a conversation piece pulling loved ones together. And I absolutely adore the wind! It's racing across the canvas, in a rush to be on its way. The whole painting is a landscape, and a portrait, a surreal, spiritual, realistic, abstract painting that pulls a lot of my talents together to create something that is totally unique, and special for the people it is intended for.

The painting is entitled "David and Martyn at The Royal Crescent at Bath - past, present and future". And the photo here really doesn't do it justice, but whilst its drying and I can't move it upright for a better photo, this is the best I can do. But when you're standing infront of it, you can see the nuances of detail, the texture in the paint, the movement in the wind, the leaves as they whisk across the grass, the details in the faces of the people, and the animals, and the feel of the place depicted, and the Autumn day as the clouds scud across the sky.

Stroppy cow to the dogs bollocks

2011-04-18T15:47:00.000+01:00

I love going to the different art workshops I attend regularly. I always go with a happy upbeat feeling, one of knowing that I shall be spending the time doing something I really love doing, being with my artist friends, and shall learn something useful along the way too. I arrived at the one at the weekend with that feeling. There weren't many of us there, only eight, and I knew all of them well from being in the same local art group. The male tutor didn't know any of us.

So, it was somewhat strange that within ten minutes of me walking through the door that I was spitting mad, in a stroppy mood, and marked down as a trouble maker as far as the tutor was concerned.

It happened innocently, as far as he was concerned, and ominously, as far as I was concerned.

We had all set up our places within the room, and since there were only eight of us there, and not the usual 20 or so, there was loads of place for us to work in and we could all have a double table, rather than one small one, which is sometimes the case, and which I always struggle with, as I like space around me, and enough workspace to work from.

Then, he wanted us to move to the front of the room, to two small semi circles of tables shoved up together, so that it would be easier for him to see what we were doing. I think it was at that point that I got stroppy, not helped by the fact that two other women there started muttering under their breaths, too. I started to move my desk, then I thought "Sod it!" and moved back again. He didn't say anything, but I noticed he didn't make any eye contact with me for the next hour or so, and when I asked a question, he ignored me totally, much to the amusement of myself, and one other woman there who also noticed, who twinkled her eyes at me with a knowing grin. I continued with the session, and then the annoyance was compounded by the fact that he asked us all if we knew how to sharpen a pencil. I think I do, yesssssss. I said out loud at that point to someone else, out of hearing of the tutor "I think I'm in the wrong class". But I stuck with it, and knew the importance of getting a sharp point on a pencil, because otherwise how can you draw properly with it. But I didn't need to be shown it, which was the next step he went to as it was passed around the room for us to wonder and wow at. Oh dear, this is going to be hard going.....

I'm not sure at which point things started to change. Maybe it was when he asked the group what mediums we paint in, and I said with complete confidence "Oils, acrylics and watercolours", maybe it was when I told him about the large and important commission I'm doing of an oil painting, maybe it was the fact he realised I could draw when he saw what I did when he got us doing three ten minute drawings of each other. He certainly stood behind me as I was drawing, and said "Perfect!" before moving on. Maybe it was when he saw how I could use watercolours too, to fill out one of the drawings into bright colour. Maybe it was when he said to me when he watched me painting "I've never met an oil painter who could understand how to paint wet-in-wet in watercolours before!" and I said ""Well you have now"" and one of the other women there said to him about me "Well, she's clever!!!!".

By the end of the session, he was a big fan of mine. Big! He loved my art, he loved the fact I did erotic art, he liked me as a person, and he was eager to see my website. I shook his hand, with a smile, and thanked him for an informative and helpful workshop, as I gave him my business card and we said our goodbyes.

I'd really enjoyed it, particularly when he'd got us doing the three ten-minute poses as three of the group volunteered to sit and pose. Two of them sat in the chair when it was their turn, doing nothing more than a normal pose, but one did a pose with her head in her hands, her face looking down, and I loved it, and really enjoyed the drawing part, almost more than filling it with colour afterwards. I've missed it, and missed the way my pencil flew across the paper, making marks, drawing the bare outlines, then filling them out with more and more detail, my eyes following the lines infront of me, and copying them to the paper infront of me. I also liked the fact that with the other artwork he got us doing, after that, it was the expression and body language we were to draw as much as the person depicted. It was all most helpful and interesting to me as an artist and a person who likes people.

........

And the reason I wouldn't move? Not just because of the tightness of us all bunched up together, its because I'm too much of an artist to want to leave the light of a large sunlit window overlooking sun filled blossom trees, to move to a place in the room where the light was far dimmer. I'm like a moth, I need to be by the light.

Almost there

2011-04-15T18:10:00.000+01:00

The response is good, the feedback positive. But it's not quite complete yet. A few more changes, and hopefully it will be finished then.

I always have mixed feelings about my art - I put as much as I can into it, of myself, invariably have positive feedback (actually, I can't remember when I last had negative feedback, other than someone being upset by their feelings over my Enigma painting because they didn't like the faces in it because of what it reminded them of - so, that doesn't count, as such..!). And then, when artist and client are happy, the painting goes to live with them. I always feel a little sad when it goes, but also am happy that it will give others happiness through viewing it, so it has to leave me, for that to happen. But then, I can look towards the next idea, the next painting, the next commission. And I am always excited at the prospect of that!

But sometimes I see some of my paintings when I go to visit friends, and that is always nice for me too - like visiting old friends of my own! Twice this week, that has happened, and I like to see my art, and to hear from my friends how other people in their lives have looked at the paintings and been affected by them in a positive way. But art does speak to people, and I am always astounded when I hear someone say that they have never thought of art, or paintings, and don't have an interest in it. Surely, all of us have ONE painting that we want depicted, one thing that is the most special thing of all, to us, for us to look at daily, and get mental sustenance, inspiration, hope, happiness, pleasure, and a feeling of loving fulfillment from. It doesn't matter if that painting is a special place (whether its Naples, New England, Nagasaki or Nuneaton), thing (motorbikes, mangoes, military mustard pots or Ming vases), person (lover, lovers, loved, lost, or liked), or action (sky diving, skiiing, sailing the Seven Seas, sewing sequins, shampooing the cat), we all want something. I just want the opportunity to paint it for them.

I am pleased my contact in New Zealand is still interested in my career and where it is going. We spoke briefly this week on the phone, early morning for him, late night for me, catching up on each others lives. His affected stupendously recently by the earthquake there, and listening to his voice as he described it brought the enormity of it all into my life.

Friends visiting last night were eager to see how the Royal Crescent at Bath painting had progressed since their last visit a fortnight ago. And I was more than happy to show them, although I explained it wasn't fully completed yet...

People come into my life, and some are affected hugely by my art. My life is my art. If I can affect them, through what I paint, I feel I have achieved part of my lifes plan. And, that's got to be a good thing, surely?

Wet anticipation

2011-04-13T17:39:00.000+01:00

I worked hard on it yesterday, music blasting out to encourage me, as a last flourish after all the weeks of work I've already put into it, and I've done as much as I can of the Royal Crescent at Bath. I feel that it is finished. I've read through the two full pages of notes that I made from the Clients instructions, and I have abided by all of their requests. I look at the picture, and love it. But, until the Client is happy with it, its not done..... and I won't sign it, that final finish to a painting, til then.

I am awaiting feedback from them, and can do no more til I have it.

Its been hard to take a photo of it for them though, to enable me to show them what it looks like, since it is a large painting, and currently lying flat whilst the sides of the oil painting dry out on the box canvas. Its hard to take a photo from far enough away to get it all within the image, and keep it as square to the photo as I can, so it can all be viewed in one go. But I have done the best I can, standing high above it, on a chair, with my arms high up in the air above my head, whilst leaning over the picture and trying to keep the angle horizontal, whilst not being able to see the image whilst I'm doing it! But one of the images is good enough to send them, with an accompanying letter explaining what is in the picture, and how it relates to the rest of the painting.

So, I can't show you the full image here, because it may not be finished yet. But, I'll give you some little tasters so you can at least see bits of it..... There's loads of colour within the picture, and my most favourite bit was the "wind" -which I did last for greater effect of the texture within it - I've painted it in silver oil paint mixed with some safflower oil to soften it and make it more fluid, using a palette knife to apply the paint in jagged shards to emulate the effect of a sharp wind on an Autumnal day. That alone took two hours to do, to get it right. I even painted the wind going around the sides of the canvas as it disappears out of sight. The rest of the picture is full of texture too, as the grass, and leaves blowing over it, are slabs of solid oil paint, applied flat but with a twist to show movement and form.

Its funny, this waiting time, when the client is full of excited anticipation of what the picture will be like, and the artist is full of a calm and controlled anticipation of hoping the client will like the picture.

I only get excited when the client says they love it.

Going up in the world

2011-04-08T21:01:00.001+01:00

I had a real good painting session yesterday on the Royal Crescent of Bath painting that is my current commission. It's taking longer than a painting would normally do, but that's because of two reasons, which together make a larger practical problem. Firstly, its in oils, so its taking ages to dry between stages, and secondly, its a block canvas, which means that I can't keep it vertical AND stand it on a surface if all of the sides are wet with drying oil paint. So, you would think, put the canvas horizontal then, and that would be the logical answer. Except that's not how you paint pictures. If they are painted lying flat on a horizontal surface the verticals in the picture get lengthened to compensate the eye. Painting it on the vertical, or at least a strong diagonal will help to view it better for painting. But, a picture isn't viewed from close up, its viewed from a few feet away, so the artist should always stand back a bit every so often to make sure that it looks good still from that distance away, and that the tones are right, the shapes are right, there aren't too many "coincidences" (that's where things in the foreground fit exactly into something that is in the background, like if a cloud shape is exactly the same shape of a tree its behind, or if a house roof in the middle of the picture ends exactly where the horizon ends, that sort of thing) and that it just "feels right" to the artist.

So, all in all, the picture has to be painted vertical, and from a distance a way. And I can't do that, because of the wet paint.....

I'd done as much as I can, up until yesterday, and I stood contemplating the picture, with a mug of tea in my hand (one of my best thinking times, whilst drinking mugs of tea!!!) and I was itching to get on to the next stage, and knowing that it might be a week or more away before I could do anything whilst the paint dried. MMm..... that's not good enough, I want to paint it NOW, whilst the momentum is there, whilst I feel like doing it, whilst I'm in the floooooowwwww....

I know!

I've got an idea!!!!

The obvious one really!

And easily remedied...

....I'll stand on a chair, whilst the painting sits on my work surface on the flat, and I can both let all four of the sides dry, because they're not being affected, and see the whole of the painting from a distance, because I was far enough above it, to see the whole picture from a distance of four feet or so away. YAY! Ingenious!

And because I was in the flow, and able to carry on with my momentum, and was playing the right sort of rock and dance music that gets me going, the painting went well, the colours were right, the paint went on thick, and fast, and now has movement within it, with the texture as well as the flashes of colour put here and there.

Who'd have thought it! My best painting aid this week, was a chair!

Love it or hate it

2011-04-04T18:51:00.000+01:00

I had a very pleasant visit to the area of Eton and Windsor over the weekend, staying with two good friends of mine, and on Sunday morning made a visit to the main interest. That castle, the one that overlooks the surrounding countryside so solidly and stands so majestically and beautifully. It's been a great number of years since I was last at Windsor, or its castle, and thoroughly enjoyed being a tourist for a couple of hours, in the spring sunshine, and wandering around the town. Shops have come and gone, as they do in ensuing years, and my man and I wandered around with no particular plan, down one road here, along a side street, turn left or right as the fancy took us. And then as we passed an expensive looking gallery, he asked me if I wanted to go in? Yes, I'd like that. We walked in, as visitors, nothing to show to anyone that we were any different to any other visitor. We both looked at the art, not together particularly, just looking at the paintings in our own time. The girl who worked there did what gallery staff should do, and made full eye contact, smiled, and asked if there was anything in particular that we liked. I smiled at her, and nodded at a painting infront of me, and said evenly "What happened to her arm?" and she followed my gaze and said equally evenly "That's how the artist wanted to depict it". I frowned slightly and asked "Why?" then went on to say what a fabulously painted picture it was, I am an artist and can see how much work has gone into it, I admired the image of the girl sitting in the chair, the setting, the representational painting that was virtually a photograph, but the wrist of the girl was all wrong, infact I had presumed the model was deformed to start with, with an amputation, since the wrist literally looked like it had been cut off just above the hand. Bearing in mind the rest of the picture was astonishingly correct in its depiction, even down to the patterning in the carpet, why indeed had the artist been so negligent in painting her hand and wrist? I know if I were to buy the painting even at the high price that it was, that it would annoy me for ever more, since I'd always be looking at the fault within the painting.

The gallery girl and I chatted, she was friendly, and nice, and easy to talk to. They had some Rolf Harris paintings there too, and I admired two of them, particularly one of a Venetian canal, full of light and colour, veridian and lime green and reds all full of contrast and life. And then I looked at the two tiger paintings that were also his, and couldn't understand that they were even the same artist. They looked heavy and wooden in comparison. What had gone wrong there? I'm not overly critical of artwork, I know if I like it or not, and can tell if its captured the ambiance or not of the subject, whether a famous artist has painted it or an amateur. But, I do have to wonder, at a big gallery like that one (one of a well known chain) showing work like that. For those prices I'd want something closer to perfection, no matter who has painted it. And certainly if I was a buyer I would too!!!!!

I was pleased though, that as we talked, the gallery girl listened to what I was talking about, about speculative art, and framing, and making your life as an artist, and made the comment "You seem to understand as much about the financial side of art as the art" and I agreed that I needed to. That it is as important as the painting of pictures for me. I am in the business of selling my paintings, so I have to be. And I know that you can't say what is THE best painting, because anyone would argue with you, as they would prefer their own favourite against yours, because they had seen and picked up on something that you hadn't. And that is because brains are wired up differently and react in diverse ways to various stimuli.

So perhaps, its a wonder that any artwork makes the connection then, between artist and buyer. I know I am always absolutely delighted when someone says "I love it!" about a painting of mine that they have bought. And know then, that I have got it right. That connection. And that's what its all about!!!

Explanations and updates

2011-04-01T18:59:00.001+01:00

New friends came to visit last night to have a drink with me and my man and chat about life, generalities, specifics, people, work, families, hobbies, and all other diverse subjects, and have a bit of a laugh as well, as is usually a case of a social visit. They hadn't been to my house before, but they did know I am an artist and about the piece of art I am currently working on. So, it was nice when they sat in my lounge, drinks in hand, and he immediately commented on my art hanging on the walls. Most of them are landscapes of one sort or another, although a couple of them are somewhat surreal. He really loved them, and said how talented I was which was very kind of him, and went on to say that his father is a watercolourist, so that made the compliment even more of one, if he had some understanding of the technicalities of painting. His favourite picture in the room was "Midnight Blue" as shown here, and he said he really loved the deep blue of the sky in it, and he nodded in smiling agreement when I said that I wanted to depict the feeling of a couple going out for a drink in Venice, and almost being able to hear the muted sound of music coming from a bar nearby (as in any music, not the one with Julie Andrews, nuns, jack boots and the goats!).

I indicated one of my favourite pictures - Enigma - the one of faces on a black stormy background and asked them both what they could see in it. They both looked at it, from a distance, and shrugged, as they couldn't see anything, then she said an interesting thing. She said "She's a lighthouse, and its a sea picture". I looked over to it, and tried to see what she was seeing. He could only see the faces he said. and she replied "You've got to look deeper than that, beyond the surface..." And went on to explain that the woman with the brightest face at the bottom is a lighthouse, and the others are lost at sea, and she's leading them back. Wow! I'd never looked at it like that before. And that is why I love this picture, because other people see such diverse things within the art. Things that I never intended, but they see them as clear as anything. How wonderful!!!

We spent a pleasant evening, and it was only after they were about to go when she said "I want to see the picture!!!!" and I knew she meant the one I'm currently working on - of the Royal Crescent in Bath with the spiritual, surreal, abstracty feel to it, and limited colour scheme. I took her to my studio and she and he stood before the picture, and the smell of oils and turps filled their nostrils as the room is rank with it. They stood in quiet contemplation of it, as I explained the thoughts behind it, whilst trying to keep my fingers off it, as its still wet and drying slowly, as oils do. They loved it, and could see how it was evolving, and how the picture is developing. I need to make it more dramatic though, and lighten the whites, and darken the darks. It also needs more movement within the picture, as it is depicting a windy day, and it needs more leaves blowing around in it, and more depth of interest in the grassy areas. But, I'm really pleased with the way its going. It's just that I can't work on it as fast as I'd like, as I have to wait for bits to dry before I can work on the next stage. Not helped by the fact that it's a block canvas and each of the four sides have to be painted as confidently and completely as the front of it. But, I think its going to be a good one.... its going that way!

Sh! Who goes there

2011-03-29T21:56:00.000+01:00

Now, what was I going to tell you? Oh, I know, about the great place I'm going to be exhibiting at, later on in the year! Actually, its two places........ both in London. One is in Portobello, and the other is in Hoxton.

The two exhibitions will follow on from each other, Hoxton will be in September, and Portobello in October. So, that means a bit of running around between the putting up and taking down dates, but I'm used to that, in setting up exhibitions.

And they are probably one of the best places for me to exhibit some of the Fantasy Fannies although I think I shall be taking other paintings of mine too, as well as some prints.

And the venue? It's........hardly a secret, but it sounds like one! Sh! Women's Erotic Emporium is probably one of the best places for me, as a woman artist, to exhibit at because they are sex shops for all types and ages of women. And it's run by women, for women as an antidote to sleazy sex shops. They try to create a welcoming and comfortable atmosphere for women to browse both within their stores and on line. Unaccompanied men are allowed in the shops, but only on one night a week, other than that then they must be with a female friend. Sh! want women to feel good about their sexuality, and I am delighted to have been invited to help them do that, since that is what my art is about as well, in a positive and creative way. So, it should be fun, and I'm looking forward to it very much.

And as an extra....... if you're in the area of Portobello on Saturday 9th April, I'd recommend you drop in to see (or at least hear!) my mate Lucy Felthouse doing an erotic reading, along with other writers........bound to be a lot of fun! And very naughty too!

Juggling and being thrown an extra ball

2011-03-25T11:33:00.002Z

The life of an artist is one of juggling. Juggling the one job you're currently working on and searching for the next one. Although I do know of some artists who can work on more than one painting at a time. I can't do that, and more to the point, I don't want to. I like to focus fully on the painting I'm working on, put all of my efforts into it, go with the momentum of it, let it fire me up, find my inspiration, and feed on my creativity to produce it, knowing I have put my all into it, and that it has my best, undiluted efforts, totally concentrated, and that it is as good as I can make it. Then afterwards I can sit back and admire it for all the talent and hard work that has gone into it. And then, I can go on to the next piece of work, and do the same with that one in turn.

So, although I am hard at work on the large oil painting of the Royal Crescent at Bath, and the life and people that inhabit that painting, I am also wondering what work I shall be working on next. Although, I am very aware that I have another Fantasy Fanny to do that was promised some time ago, and I really want to do that for the woman in question. She has been patience itself (and I know you read this blog, from far off shores, so thank you for that patience!) whilst I've had to sort my life out but now that its settling down again, I want to do that painting for her.

So sometimes I have to go out looking for work, and sometimes it comes to find me.

Like this week.

I have introduced myself via a mutual friend, to someone who it seems likes the sound of me, and is now offering me exhibition space in London later in the year. We are still at the negotiation stage, but it looks very promising. And its the Fantasy Fannies that have caused the interest, and the invite. And that seems to be the way of them, that they are something that evoke a lot of interest. And why am I surprised at that!!!! LOL

But, I am certainly delighted at the venue, and think that it may be one of the right places for them. A place that women go to, a place that women expect to see sex, a place that women celebrate their bodies, and themselves.

I'll tell you more about it, when its been finalised........

Abstracted by the abstract

2011-03-21T21:54:00.000Z

I go to a lot of art workshops. I've been to many over the years. I have learnt a lot, hands on, and always come away with more knowledge and more experience, which adds to my expertise as an artist. I always say that I can paint anything for anybody, and a lot of that is because of the diverse subjects using diverse mediums I have learnt at these workshops.

So, you would think that maybe I've learnt all there is to know, by now.
And you would be wrong. Very wrong, to think that, because art is such a vast subject, that I don't think any artist could learn everything in one lifetime.

And you would think that going to these workshops for so long I must have learnt everything I should need to know by now, and sometimes I think that must be the case........

.....and then we had a day like the one last Saturday, which turned everything on its head. Totally.

I knew it was going to be a good one. Even before I went. It was about "Abstract". And that's a difficult enough subject on its own. But I do abstracts already, and enjoy them, and have painted enough of them for other people, who also enjoy them. But, what I have done in the past is the first step into abstracts, and that is when I've taken an image, a photo, of a tangible, solid thing (well, not too solid, in the case of the fannies!!! tee hee!!!) and made the realistic image an abstract in that I've changed the shapes, or the colours, to hide the image, so that those in the know, know what it is, but those not in the know (children and the more innocent amongst us) only see innocence in the art. And I must admit I love that aspect of the work I've done. So, I went along to the workshop with experience under my belt. But I also knew we were going into areas of which I hadn't got any experience, since I've never painted pictures of this new and more exciting subject matter.

There were 11 or so other people attending, and all women, I noticed. Don't men paint abstracts I wonder?

And during the course of this workshop we only spent two hours painting out of the six, and normally I would be tearing at the bit at that point, because as far as I am concerned, the whole point of being there is to paint and be creative. But this time, I didn't mind, not at all, as I was learning. Learning about abstracts.

About painting an abstract idea in an abstract way.

Sounds simple, doesn't it? Until you think about it, really think about it, when someone asks you to paint "Happiness" and then put a colour to it. Just one single colour. And that was one of the easier emotions to do (for me, anyway!). The first picture here is depicting eight abstract notions - reading from left to right -happiness, sad, anger, misery, feminine, depression, elation, frustration. To start with we were asked to "make marks" with a pencil for each of the concepts. "Happiness" was easy for me, its a burst of wow followed by a large elongated circle rising up and reducing as it flows away. "Sad", "Misery" and "Depression" were more difficult as they're not emotions I dwell on if I can avoid it. And I found it interesting that I depicted "Anger" as a solid cube with bursts of high activity above it. But, of course, everyone else in the class had their own interpretations of each concept, and none was right, or wrong, just different in each of us. I liked the fact that femininity for me is bright, scarlet red, not pink and wishy washy. And that depression was muddy colours, and yet happiness was bright and cheerful yellow. How interesting, and revealing too! Psychologists would have a field day with this one!

The tutor went on to show us her ideas for painting more abstract ideas, like music, maths, time, and motion. This got me thinking, and when we were able to start painting, with only two hours of the session left, I knew I wanted to paint "Time", but do it my way.

I stood and thought of the visual aspects of time - clocks, daylight, sun and moon, and then about clocks ticking, alarm clocks, the numbers on a clock face, but also the numbers that relate to months, years, weeks, and days. And started to come up with an idea for a painting, a working concept, that depicts time and all the things related to it. The picture here was conceived, drawn, created, and finished within two hours. It could be painted a lot better, and more subtly and perhaps with more ideas added to it. But as a working painting, its a good one. And it surprised me how involved I got in it. Because, whilst I was doing it, I let a cup of tea go cold. Now, that may not sound like much to you, but I love my tea, hot, sweet, fragrant tea. Nothing much stops me from drinking it, except being totally and utterly enthralled with a piece of painting. And that was the case with this picture. And not only that, but someone told me my shoe lace was undone, and I nodded in acknowledgement, but I was too busy to bend down to do it up, too busy to go to the loo, too busy to talk to anyone, or go and look to see what they were doing, too rapt in my art. Time was ticking, both literally, and in my painting.

We had to finish by four o'clock, a reminder of time and its importance. I stood with the others at the end and saw what they had painted, and felt a huge stirring within me. And when the tutor was thanked for the workshop she had given us, I added out loud to it, that I had been to many workshops there, but few had touched me as deeply as this one. And I meant it. Its deep. And its got me.

But then, its hardly surprising, when I come home, and I'm busy painting "Wind" in the oil painting I'm working on at the moment. Now, if that's not abstract, I don't know what is!!!!!

Smut, to the highest degree

2011-03-18T11:21:00.002Z

There aren't many meetings I have that involve many adult themed words as a matter of course, but my meetings with Lucy Felthouse, are definitely some of them!

We met up last night and had our usual good chin-wag about sex, erotica, erotic writing, erotic art, erotic websites, erotic writers, swinging, sex clubs, bi-sexuality, gay men, straight men, lesbian women, sex toys, sex shops, kissing, oral sex, sex in public, and smut in general! So, all in all, a good night!!!

But other more vanilla things did get discussed too - I'm sure Morrisons was mentioned a couple of times, along with er, well.........

.........Oh, yes, and I told her about my talk at Burton Library last week, but that was about me being an Erotic Artist. So, um, perhaps the whole evening was smut filled!!!!! LOL

But the great thing is, we can talk in great depth about all things erotic that affect women, in an open and honest and upfront sort of way. Although when its work, neither of us get turned on on the subject (because we talked about that aspect last night too, as we've both been asked if we get turned on when we're writing (or painting) and the answer is "No, it's work!" - not that anyone believes that though, I don't think. But it's true, because you use a different part of your brain for lust than you do for working and being creative.

But it was definitely a good meeting, in that she's given me a couple of names that may be good for me to follow up and see if I can do some work in conjunction with them, and Lucy has asked me to design a front cover for her latest writings on a mythological theme. She asked me if I had anything already that I could use, and I thought briefly and said "Unicorns?" and she shook her head and said "They're not very erotic" and I agreed and then said quickly "Mermaids!" and she brightened at that and agreed with a grin, and added that she had written an erotic story about mermaids, so that would be an excellent choice. I nodded happily at her too, as I find mermaids very erotic, and sexy. I think its the sensual feel of the water around their bodies, and the way their hair flows around them, their pert breasts and smiling faces. So, I await instructions from Lucy as to how many mermaids she wants on her front cover and whether there are any mer-men there too........and what indeed they might be doing..............

And we also talked a little of my thoughts on doing some erotic writing... I've got some ideas milling around at the moment, which may come to fruition................

Sea air and feminine responses

2011-03-16T14:04:00.000Z

Well, I've had some fabulously positive reactions to the last blog post about International Women, so that's been a wonderful response to the talk I did. A couple of teacher friends have told me it was well written, and friends from far and near have praised it. And just to show how International it is, I've been contacted by a woman in South Africa whose friend went to the talk and told her all about it. How good is that!!!!

Since then I had a small break in Devon on business relating to my Mum's death, and although it was poignant and sad, it was a nice break too. I've missed the sea air. I knew before I went how much I'd missed it, but when I got there I spent as much time as I could by the sea, taking photos and just soaking up the ozone to replenish my spirit. And it shows how much the artist is in me. I look at a scene, and I might like the overall landscape of it, but its the little things that excite me. Like the shape and colour of stones on a beach. These in particular excited me because of the pinkness of them, as much as their texture. The five foot high sticks embedded in the beach at Dawlish Warren also stopped me in my tracks. I think they are old wooden posts to stop the sand shifting down the beach from the Exe estuary, but the aged weathered look of them as dark verticals against the lighter background of the grey sea was the thing I loved most. A pity that the sun wasn't shining at the moment I took the photos as the horizontal shadows would have really added to the exciting geometric designs. And I absolutely adore the picture of the sea steps at the harbour at Brixham because of the light on the water and the gorgeous green of the sea against the ochres of the stone in sunlight. Wow! I want to paint it!!!!

So, I've come back all fired up and wanting to paint! Which is a good job since I have an important commission to finish - of the landscape/portrait/spiritual portrayal of the Royal Crescent in Bath in oils. I was working on it til almost midnight last night, and have finished the acrylic underpainting. That means I've got to the exciting bit. The part where the oils go on the canvas. And I shall smile to myself as I use them, because I love the buttery feel of them, and the way the paint just happily moves over the canvas blurring, and merging, and creating fabulous cloud effects. Which is a good job really, since half the painting is of a dramatic and cloud filled sky. And my house will smell of oils and turpentine!

How wonderful.

Oh, and just as an aside. I've been watching the growth of a clump of daffodils outside my office window for weeks now. They have slowly sprung up during the snowy weather, and each week have filled out their leaves, and their delicate buds have formed. I knew when I got back from my weekend in Devon that they would be out in their full golden glory. Except they weren't. Because someone has nicked them! They have gone. And presumably are sitting in a vase in someones house. Which is a shame, because it means that they won't last so long, and only one or two people are enjoying them, instead of the passing world. So, I went to the local garden centre and got three pots of my own, which are now sitting in my garden for me to enjoy. And their bright yellowness makes me smile each time I see them. They are sunshine itself on these grey days. And when they have finished flowering I shall plant them in the garden so that they'll come up year after year. Bringing fresh hope for springs to come.

International Women

2011-03-09T15:04:00.005Z

Well yesterday was International Women's Day and I was honoured and delighted to be asked to do a talk about being an Erotic Artist at the Library at Burton on Trent in celebration of it, alongside designer Mariama Tushemeriirwe, author Janet Bennett and singer Hayley Di Rito who was accompanied by Blue Yates on the guitar. And I feel that the audience were very appreciative of our talks and that we were very inspirational for them. It was interesting for me to hear the other speakers talk about aspects of their lives, and to hear the positive affirmation of striving to follow your dream, overcoming hardships, finding people who inspire and help your creativity, finding support through like minded people, and being brave enough to tell others about it, and finding how much they appreciate the fact you do! Wow! What a night!

Various friends had rung, emailed or texted me to wish me good luck before hand, which was really sweet that they were thinking of me and wanted to wish me well with their support, I really did appreciate it!

I arrived a good hour early and was met by the positive and ever helpful Janet, who works at the library, and introduced me to the lovely Mariama, and we were shown the set up and the stage and seating for the audience. Ok, it was relaxed and informal and the emphasis was on the word "fun" for the evening. I'd been practicing my talk for a few days beforehand, and hoped that I wouldn't dry up during it! I was on in the first half, after Mariama had spoken. Then there was to be an interval for coffee and then Janet spoke, followed by Hayley singing. I'd met the delightful Hayley briefly in somewhat different circumstances, since she was at the house of a friend of mine the other week, and we'd said hi over a game of Trivial Pursuit!

There were enough people in the mostly feminine audience for me to still feel that I could relate to them as individuals and I was delighted that they came to speak to me before and after my talk, and at the end of the evening. Some were inspired enough to want to talk to me about the possibility of me doing commissions for them, some wanted to talk about the prints I'd taken with me, and some wanted to talk about their interest in art. All interesting, as ever, and really nice to interact with them as friendly people. The head librarian asked me afterwards how many times I'd said my talk before and was surprised when I said it was the first time. He said that it sounded natural and I said that I'd been practicing it out loud for the last few days, so I'm glad that I did, even if the cat was a little bemused my by actions!!!!

It's been interesting for me to sum up my life so far in a succinct talk lasting 20 minutes, to complete strangers. I looked at the who-what-why-how-where-when aspect to help me put it in order. And its really focused me again on to what I do and who I am. One woman told me afterwards that she was enthralled with my talk, so that was great to hear! And for those who missed it - this is the basis of my talk:

Hello, I’m Jackie Adshead and I’m a landscape painter.
I also paint portraits of humans and animals, houses, scenes and various objects, cats and dogs, horses, tigers and other big cats, children, mythical beasts, and fantasy pictures. But you’re not interested in that, because no one ever is! I don’t know why, but people are always far more interested in the fact I do Erotic art, more than anything else! And for some reason, I always seem to sell more erotic art than the “normal stuff”. But then what is normal? For me, erotic art is.

I’ve spent all my life painting. I’ve never stopped since I first picked up a crayon as a toddler, and I had my first commission at the age of 13 for my history teacher at school, and I've painted many things for many people, but the artwork has changed a bit since then! So I’ve always had the talent to paint within me, but I like to push my boundaries a bit, and like a challenge, and love to be creative so for that reason I am probably unusual in that I will paint any subject matter, I don’t limit myself to just painting flowers, or landscapes, or people. Or to a certain style. I love to paint in watercolours, acrylics or oils. And to draw with pencil or pen and ink. And I do surreal, abstracts, fantasy, camouflage art, as well as representational. I am a painter rather than an illustrator. In that I try to catch the essence and feel of the subject rather than a totally true representation. You can use a camera for that. But the image will be more stark. Painting is softer and more accepting, accentuating the good bits, and lessening the bad bits.

I know I am unusual in that I am a woman doing erotic art. But I love doing it, as an artist painting other people and making them look good. I love to see women in art, and painting art for women, as a woman artist. I believe all women can look erotic, regardless of their age, or body size. We all like to feel attractive, it’s that that I try to find, to pick up on, and put the essence of it into the painting.

I am most inspired by Caravaggio for his dramatic use of light and deep darks. And I also love the work of Dali, Jack Vettriano, Boris Vallejo, Frank Frazetta, Josephine Wall, Jim Warren.

I must admit, as far as jobs go, there aren’t many jobs where it’s perfectly normal for people to take their clothes off for you – but my job is one of them! People feel at ease when I draw them. They take their clothes off, and I just keep the eye contact, and whatever they look like is ok. They will only find it strange if the response is negative. To me it’s a positive experience.

Having said that, as far as I’m concerned drawing a human body is just the same as drawing a bottle or a vase of flowers, I look at the lines, and the tones, the form, where the light is hitting the body and work out the best composition. People sometimes ask me if I’m turned on by looking at the erotic images, and are probably surprised when I say that I am not. Its just work for me! Because it’s just an object I’m drawing regardless of what it is. But, what I have to bear in mind when I draw an erotic image is that I don’t feel sexy when I’m drawing the picture, and the model might not even feel sexy if it’s a difficult pose and they’re trying to keep still for me. But, what I need to capture is that certain something, the essence, that will make the viewer feel erotic when they look at it. And that is such a subtle thing to capture, and is something that may be different in all of us.

The way I describe “erotic” is that it is something that makes you wonder...... what has that person done beforehand to now be in that position and place and time, and what are they going to do next? The way I describe “erotic” is this – if I draw any one of you sitting here as you are now, it would be a portrait. If you were sitting here in the same position stark naked, then it would be a life drawing pose. If you were sitting here stark naked doing something graphically sexual (and I’ll leave that to your vivid imaginations!) then that would be pornographic. But that leaves nothing to the imagination. But what I draw is the erotic – the sensual, the sexy and the suggestive. And I can draw an erotic image where the woman in it is fully clothed, because it may just be the look on her face that makes it look erotic. And erotic is becoming more acceptable in main stream. We’re all used to seeing erotic images in magazines and on the telly – and don’t tell me that Nigella Lawson isn’t promoting erotic, because she is! Her cooking is a by-product! It’s the enjoyment of sensual things – whether its food, sensual experiences or erotic art.

How I started being an Erotic Artist was by attending life drawing classes about ten years ago, and I found that a strange experience to start with, until I realised that although the room was full of people, and one of them was totally naked, it was all quite normal, and the naked woman was an object, like a beautiful vase, and not something that was considered dirty and rude, so I just got on with drawing, as was everyone else in the room, and I realised how difficult it is, because if you draw a tree, it doesn’t matter if the trunk is a little too wide, or if one of the branches is too long, but it does if it’s a human body, the measurements have to be right, and the arms and legs need to look like they are all connected to the body and that the head sits on the shoulders. But after a few weeks of being at a life drawing class and looking at the work I’d done, I wondered how I could make it look more interesting, and life like, and I realised that it’s what I was leaving out that made the picture more interesting, as it leaves it to your imagination. And I drew with white crayon on black card instead of black pencil on white paper and that made it more dramatic. And it evolved from there.

I love it when someone contacts me and wants me to paint their passion, because then I can put my passion into creating it for them. And it doesn’t matter if it’s erotic or not, I just love painting!

But as well as erotic art I love painting secrets – and have done some erotic landscapes (see, I told you I was a landscape painter!). I had a commission a few years ago from a chap from Windsor, who asked me to paint a picture of the New York skyline at night as the typical picture but with an erotic couple hidden within the painting so that people viewing it wouldn’t know unless they looked closer or had it pointed out to them. And also that very same week (and there must have been something in the air that week!) that he asked me to paint that picture I was commissioned to do a painting for a woman in Dorset who wanted an erotic picture to hang over her bed that her four year old son wouldn’t recognise as anything other than a landscape. She wanted me to paint an erotic landscape where the couple are actually the geography of the land - the picture is based on Lands End – there is sky, sea, cliffs, a beach, sand dunes, a cave, and a tree, and a bit of a phallic lighthouse in the distance. And to innocent eyes, this picture is nothing more than that. But to less innocent people, it is far more than that. You can see the man and the woman within the picture, and you can see what they are doing. It is both erotic, and a landscape. And it’s the thing that I am most proud about, because it took three months of hard work to design it. And innocence only sees innocence in my work.

But as well as that I love hiding the subject matter within my art too – like in the set of erotic feminine abstracts that I have painted that just looks like brightly colourful abstract shapes, but are actually a very intimate picture although most people looking at it wouldn’t have a clue – which makes it the ultimate conversation piece as far as I am concerned! A female Sex Therapist told me that a lot of her patients have issues with their body image, and seeing my beautiful and positive paintings might help them to over-come that. They have empowered the women who have participated in them, since they find them therapeutic and spiritual, and a little bit naughty as well! They are currently hanging on walls in America, and England, and a woman contacted me from New Zealand in raptures over them and what they stood for. I love the fact they are affecting women world wide. I painted one for a woman in Canada whose young step-son described it as “the sky diving picture”, because that was what it looked like to him. Again, innocence only sees innocence.

And from doing those pictures I was asked by a woman in California to paint a body portrait of her in the style of the feminine abstracts . She rang me specifically to tell me which tones and shades of which colours she wanted in it, and which she didn’t. And that's how I developed the “Living Flame” pictures. They are pastel colours glazed one on top of the other to create pretty and translucent shades which everyone seems to find very appealing. I’ve painted a chap from London in this style, as well as a couple which I sold to a collector of my work, in Chicago. I love the fact that one painting might lead on to another one because of one aspect that evolves into another and so on. The ideas for the art flow on and I love that aspect.

And I like to hide messages within my art too – like when I was asked to do a watercolour painting for a couple from London of a particular village in Southern France that they had visited a lot, and I suggested that they might like their initials hidden within the buildings itself. They loved that idea, as it made it far more personal to them, but I knew we were going to have a problem, as did the woman when I mentioned it. So, I had to just put in just their initials, and not the “and” part – since otherwise it would have spelt out “M & S” or worse still “S & M”!

I have exhibited a lot in the East Midlands, and with the Guild of Erotic Artists who are based in St. Albans in the Hertfordshire. I am featured in their second book, and have copies to sell if anyone is interested. It’s an international group and they actively try to promote the acceptance of erotic art. Having said that of course, it’s becoming more and more acceptable when you open most glossy magazines, or look at the adverts on the telly. But it’s a really nice friendly group to be part of and they are very supportive to everyone in the group. I have exhibited twice at Erotica (the liberated lifestyle event) at Olympia in London, which was an eye opening experience and great fun! I got chatting to a guy there who asked me “Why is a nice girl like you exhibiting here?” and the answer I gave him was that if I could sell enough vanilla artwork then I wouldn’t need to sell erotic stuff! But, I do love doing it, because it’s difficult, and the most challenging of art to do, because of the subtle nuances of it. It's my niche market, and its one I love.

I am on Facebook. I have a website which promotes my art worldwide, and I write a blog about being an erotic artist, and some of the very strange conversations I have with people. Someone once thought I was an erratic artist. And someone else thought I was a neurotic artist, I don’t know how one of those paints, very shakily, I suppose!

I have had a number of people brought to tears through a special commission that they’ve asked me to do, and when that happens I know it’s because I’ve touched their soul with mine. I know that people like to see what they look like through another person’s eyes, and I know I have been good therapy to some of the people who I have drawn, because they’ve told me so, with emotion in their voices. Someone I drew with a perceived lack of confidence says I’m good therapy because she was surprised I wanted to draw her and that she was so inspirational for me. Her elderly mother got emotional because when she saw the images as it reminded her of how she was as a younger woman. I have seen within them and it’s deeper than looking in a mirror.

And I’d like to think that I have brought a lot of pleasure to people through my art. I know I have done so far, and I hope to continue to do so. I try to touch people’s hearts and hope that they feel more enriched through knowing me. And I hope that I am an inspiration.

What I love most, and try to paint, is the thing that I think is most important in the world. And that is the power of communication - whether it is through the spoken word, touch, empathy, painting pictures for other people’s pleasure, or for my own, the written word, or just the look between two people. And as a woman, I think that’s important for us all.

Thankyou.

Fifteen minutes of fame

2011-03-07T18:24:00.000Z

Well, I've spent the weekend fine tuning the talk I'm going to do at the library. And it's been interesting for me to consider, because it's making me think about what I am, and what I do. You'll be thinking I've got the start of Alzheimer's now I've said that! But, what I meant, is that when you've got 15 minutes to talk to a group of people, it makes you focus and try to be succinct in summing it all up. Because I've spent my whole life painting pictures, but have only started doing the erotic stuff for the last ten years really. So, I'm having to look at the whys and where-fors as much as anything else. Why did I become an erotic artist, how did I, when did I, who I am, what I am, where I am both mentally and physically speaking? If I can answer all of that, I've got the basis of a talk. But, someone is bound to ask me a question regarding something I've not thought of yet! And the danger at the moment is going past my allotted time! Although I suppose I can cut it down if need be, rather than finishing lamely after five minutes and looking at the audience and saying " I can't think of anything else!"

I also need to sort out what art work I'm taking with me to illustrate it, as well as the Guild of Erotic Artist books to sell, and sign if anyone wants signed copies.

I've already found an arty top to wear, one with pretty colours that will inspire me. Is that a woman thing, that the colour of your top decides what sort of mood you're in, and want to convey to others?

I know I am only a small part of this celebration of womanhood tomorrow, but I am proud to be part of it. And I shall look forward to meeting the diverse group of other women there who also have their few minutes to convey their messages too.

So, now I'm wondering who is going, and whether there will be anyone there I know. I feel its going to open new doors for me too, I'm just not sure where and how yet!

Five minutes with

2011-03-04T10:12:00.000Z

I was hoping to put the link in for the "Five minutes with" article that was featured in the Burton Mail paper this week but they don't seem to have that part on line. No matter, I know the answers I gave the journalist although he had to edit them down to 420 words for the paper. I could have doubled that figure, easily! So, I'll give you my answers in full here...... which will give you a better insight into me.......

Born and bred

Born in Shropshire, then moved back to the Burton area since my parents are originally from here. My formative years were mostly in Repton (near Burton on Trent, East Midlands).

Hobbies
Film, photography, travel, reading, writing my blog, collecting wooden puzzles, walking, quiz shows, playing computer games

Favourite book - The Chimney Sweepers boy by Barbara Vine

Favourite film – Femme fatale, Perfume the story of a murderer, Notting Hill, Shakespeare in Love

Favourite food – Satay chicken with peanut dipping sauce

Proudest moment
Designing an erotic landscape where the couple are the geography of the land itself, after three months of hard work on it.

Having one of my tiger portraits win Ashby Art Clubs top prize, then having the artist doing the judging buy it from me.

Watching the sun rise over Machu Pichu in Peru

Exhibiting at Erotica, Olympia, London

Most embarrassing moment
Almost missing a flight out of Pisa, after waiting in the departure lounge for over an hour, finding that the flights weren’t actually announced, and having to run at full pelt from the departure lounge, along various empty corridors, across the tarmac, and arrived breathless on the plane, being the very last to arrive, whilst everyone else was seated and having to walk the length of the plane knowing that everyone on it despises you for being the idiots who held the plane up and almost lost the flight.

Biggest inspiration
Caravaggio, because of his use of strong dramatic light and darks, and the emotion he conveys in his art, as well as the fact that they are beautifully painted as well.

Hopes for the future
Wider recognition for my art, more solo exhibitions, inspiring others through my art. I currently have paintings hanging on walls on two continents, and I’m still working on the others!

Biggest/best achievement
The Fantasy Fannies series of paintings that I’ve created as they are the ultimate piece of feminine art. The are the most interesting of conversation pieces, since they contain humour, a deliciously naughty secret, are personal, bright and vibrant, and the ultimate of feminine portraits. They have empowered the women who have participated in them, since they find them therapeutic and spiritual. And they have touched women worldwide as far away as New Zealand, USA and Canada.

Travelling unaccompanied through Japan when we didn’t speak the language, or could even read it.

If you ruled the world ........
I’d get rid of road humps, call centres, cold calling, phone menu options, and my paintings would hang on everyone’s walls!

Pet hate – Road humps

Greatest love
The power of communication - whether it is through the spoken word, touch, empathy, painting pictures for other peoples pleasure, or my own, the written word, or just the look between two people.

Favourite belonging
A very large framed photo I have on the wall and look at daily, it depicts a moody sky, the sea, a beach, black rocks, and the stream of water in the foreground carving through the sand as it snakes down towards the sea is almost the shape of a woman’s body. I get great pleasure looking at the picture and find it very inspirationally uplifting and also calming at the same time.

Perfect night in/out
Being in the company of good friends, when the conversation, wine, and laughter flows.

What will your epitaph say
She brought a lot of pleasure to people through her art. She touched people’s hearts and they felt more enriched through knowing her. She was an inspiration. And she had a dirty laugh!

International Womens Day article in the paper

2011-03-02T11:09:00.000Z

Nice to see your name in the paper - this was the article in the Burton Mail last week:

BURTON Library is to celebrate 100 years of International Women’s Day with songs, drama, craft and speeches.

Centred on the theme ‘Women in the Arts’, the events will be held at the centre on Tuesday, March 8.

Nottingham singer and actress Mellonie Page will start the celebrations by running a singing and drama workshop from 9am until noon.

Burton author and illustrator Kate Slater will then hold a similar event focussed on paper crafts and collage from 1pm to 3pm.
Tickets for the workshops are £3 each and advanced booking is advised as places are limited.

Mariama Tushermiriiwe, a Derby-based designer who trained at the London College of Fashion and Central Saint Martins College, will be among the guest speakers during the evening.

She creates hand-crafted items from reused, recycled fabrics and fibres and her work is available to buy online and countrywide.

Another performer will be Jackie Adshead, an artist who works with acrylics, oils and watercolours.

She has been acclaimed for her work as an erotic artist and is a member of the Guild of Erotic Artists.

Her work has been exhibited at the library as a solo artist and sold worldwide.

Ms Adshead, who lives near Ashby, said: “I’m very proud to be asked to take part because it’s International Women’s Day.

“It’s a wonderful opportunity for me as a woman artist to talk to other people there, male or female.

“If I can inspire anybody with the way I do my art, that would be great. It’s going to be an interesting evening.” Author Janet Bennett will discuss her three books on Burton’s Caribbean community as well as a recent exhibition with photographer Martin Naidu called ‘Community Clicks’, due to be published this year in book form.

She jokingly describes herself as ‘a writer who tolerates photographers’.

Burton singer Hayley Di Rito, a former Mail employee, will end the evening by talking about her life as a film make-up artist — she worked on ‘Robin Hood’, starring Russell Crowe — and singer.

Miss Di Rito, who has performed throughout the Midlands and is a regular feature at The Dial in Station Street, Burton, will also perform a selection of her favourite songs with Blue Yates on acoustic guitar.

Tickets for the evening event, which will run from 7pm to 9.30pm, are £3.50 each, or £2.50 for those entitled to concessions.

Advanced booking is advised.

Bookings for all of the events can be made by telephoning 01283 239556.

A change for the better

2011-02-28T19:38:00.001Z

Right, I can tell you more about the erotic abstract now.....

I was happy that I had finished it the first time, but the woman who I had done it for found it confusing in parts, and I realised over subsequent conversations with her that I had probably made it overly complicated in trying to hide the image. Her kids had seen it and had only seen colourful shapes, pointing out the fish, witch, birds wing and other outlines and missing the main picture, because it was only shapes. As it turned out, the adults I'd created it for seemed to have the same problem!!!!

Mmm.... rethink!

I'd already said that it was no problem to change the colours and shapes to make it more obvious. I stood infront of it with the woman who it was created for and asked her what she could see. She told me, and although there were three people in the picture she could only see half of one of them in effect... Ok, then I need to do some more work on it.

The next day I started tweaking it, and spent another four hours adjusting various parts to make it more readable. And showed the woman again. She looked at it, and her first response was that I hadn't made any changes, and then she looked a little further, and again, seeing the nuances of it, and stood with a grin and said "I can see it now!". Phew, that was a relief! I smiled, and looked back at it, as she did, and I was pleased that she can now look at it and see the eroticism of the image. Although, innocent eyes will still only see innocence.......

And just to add to the rest of the story, she texted me this morning to thank me for the extra work I had done on it, and to say that she had read my blog from the other day when I wrote about making the changes, and NOW she could see the erotic shapes as I had planned in the ORIGINAL image. I laughed in disbelief, and she went on to say, that now that I had made the changes to the painting it had trained her eyes more, so that she could see the first image far clearer. I can understand that. And I am hugely relieved that she doesn't want me to continue painting to return it back to how it was! She understands, as I do, that the second version has taught her how to read it clearer!

So, on to explaining more about it, and to show you the finished version. The definitive version! Which, I know is still abstract and still "just shapes" - but if you look at the original working drawing, you will see instantly what the image is, and why it is erotic. There are three people in the picture, two women, and one man. The women are lying on top of the man, which is why you can't see him clearer. His hand is clear on the right hand side, as it rests on the back of the woman on the right. His other arm is actually the strange shape behind the woman on the left, his hand is caressing her neck, although the arm is only visible to the wrist. His head and neck are behind the arm of the woman on the left in the top centre of the picture, his legs are visible - one between the legs of the two women, and the other under the woman on the rights thigh. His cock is the strange shape in the middle of the picture, above the thigh of the woman on the right. His stomach is above, between the knees of the woman on the left, and the breast and stomach of the woman on the right. As you have probably realised by now, the two women are caressing, but only using one hand each, on the arm of the other woman. I realised when I started working on the design that if I had heads, hands, and feet within the picture it would be pretty obvious what it was, and what was happening. So, I cropped the image, and that made the image more abstract straight away. Merging some shapes, and disguising the obvious shapes by adding extra distinctive ones, led the eye away from the image a little more. Having a limited colour scheme helped, and adding red and silver and black made the image more dramatic, and gave the viewers brain something to look at and question.

There are actually a lot of the original lines from the working drawing used in the finished painting. You have to look closely to see where they are, and as I said, I have purposely tried to hide them anyway.

So, that's it then. Done! And hopefully no more changes....... its erotic enough, and hidden enough as it is.

Unexpected changes

2011-02-26T13:32:00.001Z

I really enjoyed chatting to the journalist from the Burton Mail the other day. I was pleased he'd given me 20 hours to mull over the questions, because that meant I could give him some indepth answers. But then his questions were very deeply personal ones as well.

It was a real fun thing to do, and we went through the answers over the phone. But I had to give him a pre-warning before we'd even started........

Some of the answers had been changed, to ones that were more a little more, well, suitable for a family newspaper. Ok, he said with a laugh.... and we started with the questions....

Where and when I was born, hobbies, favourite food (which he was surprised about since my choice wasn't a typical one), favourite book (again a surprise for him since he'd never heard of it) and favourite film (I did really well and narrowed it down to four from about twenty! Since I've never had the just one answer!). Proudest moment, biggest inspiration, biggest love, favourite belonging, most embarrassing moment, hopes for the future, what I'd like to have written on my epitaph, but it was when we got to biggest and best achievement that we had the biggest problem. Because I was emphatic on my answer, and knew that he would struggle to put it in the paper. When I explained, he said that he himself was ok about it, but the paper wouldn't be. Ok, then, how do we phrase it so that they are happy with it, because this is definitely my answer. Ok...... I told him how I would word it, and asked him which part he wasn't happy about, and it was the one word I was expecting, the rest was ok. So, we had to write it so that I got the point across without spelling it all out in exact wording to make the vicar blush!

At the end of the session, he had a word count and was surprised that it was 600 odd, and that left him with a problem since it had to be 420. Ok, a bit of editing needed to be done then! Between us we went through what he had written, and he apologised for the fact we had to cut my words down, and he said that normally people don't put enough words in and it needs padding out. I said I could have easily doubled it, and had struggled in the first place to cut it down to make it more succinct! We worked on the phrasing, and between us got it down to 420 words. I said to him that he was the expert wordsmith and should know how to do it naturally, but as I worked through it he said I did it easily, and I grinned over the phone and said I wrote a blog post two or three days a week so was used to it!

I enjoyed chatting to him very much, and have a feeling we'll chat again.

Oh, and the thing that I feel is my biggest and best achievement, and the thing we had problems with? Well, it was the Fantasy Fannies, of course! LOL
I think we rephrased it to something like "feminine abstracts" which sort of hinted at it, without it being a problem for the paper!!!!

And whilst I'm on unexpected changes, I have offered to make a few subtle changes to the erotic abstract that I finished the other week, since the woman I did it for finds it a little perplexing still. Now, don't get me wrong, she knows exactly what is in the picture, and why, but she can only see parts of the image. It seems like I've made it overly complicated! We had discussed it a number of times, and I wanted her to look at it and be happy with it, not frustrated and confused, so I offered to make it a little more obvious, and she gratefully accepted. I shall do them infront of her and explain the changes first so that she can see what I'm going to do. Her children can't see anything in it but blobs and erratic shapes, so adding a few more blobs shouldn't make it less so, but it might make it a little more obviously erotic.......

I'll show you when I've done it, and explain a little about it for you.................

Quietly questioning, and all that it entails!

2011-02-23T17:13:00.000Z

Although I'm busy finalising the planning for the painting I'm doing, I also need to think long and hard about the talk I'm doing at the library at Burton on Trent in less than a fortnight's time.

I've got my talk half written, but it needs to be more succinct, and I need to have it as word perfect as I can, for the night.

So, to that end, I went for a walk, deciding that physical movement would be more conducive to evaluating thought processes.

It didn't matter that it was raining.

It seemed to add to it, somehow, so I didn't bother taking an umbrella, and expected to come back drenched. I didn't, in the end, get totally drenched, but I was certainly a little moist around the edges! But, I was definitely more mentally focused, because of it, so that was good! I spent the forty minutes of walking going through the talk, and thinking of the order of the way I wanted to say things.

And hadn't been back long, well, long enough for me to dry off, change my wet jeans, make a cup of tea, and think about what I was going to do next, before the phone rang.

It was a journalist from the Burton Mail paper, wanting a chat about the talk I shall be doing at the library, as he's going to be writing a piece for the paper and although he already had a press release about me, he wanted a bit more information to pad it out a bit.

We talked easily and he asked me what my feelings were about doing the talk for the library and I told him how proud I was as a woman artist to be part of the celebrations for International Womens Day, and talked a bit about my art, my life, and how it was helping me to focus again after the challenges and traumas of last year. He listened, and asked a few questions, and wrote as I spoke. Then he paused, and asked me if I'd like to be involved in a feature the paper does regularly, asking the same questions of all manner of people in the news at the moment. I said I'd gladly like to answer his questions, and we made an arrangement for him to call me back in the very near future.

And then I voiced the question that was paramount in my head.

"And are you going to give me prior notice of the questions, or do I just have to answer them when you ask them?"

He chuckled, and said that of course he'd give me the questions beforehand, as the answers would be better if I could mull them over first.

And told me what they were.......

Where was I born and bred?
Hobbies?
Favourite book, film, food?
Proudest moment?
Most embarrassing moment?
Biggest inspiration?
Hopes for the future?
Biggest/best achievement?
If you ruled the world.......................
Pet hate
Greatest love
Favourite belonging?
Perfect night in/out?
What would your epitaph say?

Phew! So, nothing much there that's easy then! I don't even know that I can narrow my favourite film down to JUST the one! At least I know where I was born, and what my favourite food is, but the rest of it...MMmm... deep stuff!

And, just to make it even harder, some of it can't be mentioned in a family newspaper....... unless I can word it a little differently......Well, I AM an Erotic Artist after all !!!! LOL

Music and movement

2011-02-21T20:29:00.000Z

I don't like to rush the design stage of a painting. Having said that by the time its come to me, its quite easy to sketch some ideas out to see how they work, and then adjust the colours or tones accordingly to make the painting better in as many ways that I can. But the basic concept will usually remain the same from the original thoughts.

The painting I'm working on at the moment, is the oil painting commission of the Royal Crescent at Bath, with various people, alive and dead, within the picture. The painting won't be fully representational, but also it won't be fully abstract either, but an amalgam of them both. But it will also have more of a surreality to it as well, in that the wind that is blowing around the people within the picture comes from the two much beloved people within the clouds of the sky. That is the concept. It took three full days last week for me to get to the point of being happy with it, along with a couple of long phone calls with the clients, in Bath, to agree the design and make any adjustments accordingly. I know the days were intense, because I woke a couple of times in the night (a rarity!) with ideas rushing around my head, and thoughts for the planning stage fresh and running free.

The reason it was done that way, was because the clients are going on holiday for a fortnight, and I didn't want to have to put the painting on hold whilst I awaited for their return. By having three very intense days of designing it, it means that it has freed me more for the week ahead and being able to plan the colours at my leisure. When I asked the client what colour palette he wanted - the reply was that he'd sent me photos of the room, so I could see where the painting was going to hang, and since I was the expert, and he'd already given me the brief, he wanted to leave me to make the final decisions and didn't want to interfere with those decisions, giving me free rein.

So, after emailing him the first design and then hearing his thoughts on it, adjusting the second design accordingly the next day and emailing him that drawing with the new changes, he loves it! And I've got the go ahead! Yay!

That always makes me happy, when it's all positive and upbeat.

The client said "That didn't take long, did it?" and I smiled! But he was right, and more to the point, he was happy. And that is what I'm aiming for, always!

So, now, I can think of the colours. I know to a degree what they will be - cream, brown, plum, black, red, and silver. And I know the silver will be the wind, blowing diagonally across the painting, full of love, and connecting the people, but also with a power, a spiritual power, as well as a physical one. I don't think at the moment that anything else in the picture needs to be silver, as that will detract from the wind and that is one of the most important aspects of the painting. So, the next stage will be working out the layout of colours for dramatic effect. As the painting certainly will be dramatic, and it also needs to stand proud from the heavy and dark Georgian style wallpaper that it will hang against.

Then, I can start painting it, properly.

But yesterday, I did something that although not obviously connected with the painting, it is something that will affect it, totally and absolutely. Fully, and instantly.

It was my choice of music, for my iPod.

Loud, rocking, with good rhythm, and the stuff that instantly fires me up!!!!!

Four hundred and blustery

2011-02-17T10:50:00.000Z

Four hundred.

Four hundred with this one.

Blog posts that is, that I've written since I started in March 2007. Its almost the anniversary of that coming up soon too, and I still love it as much now as I did then. Perhaps more so, because more people comment on it in real life.

So, what am I going to talk about today?

Wind.

I was at an art meeting last night for one of the art groups I'm a member of. And we'd discussed various things to do with forthcoming exhibitions, finding new venues, new members wanting to join, the usual stuff of artist groups. And we'd got to the point towards the end of the meeting when other people were discussing subjects that didn't really relate to anything that I needed to put any input into, and my mind wandered off.......as it does to us all when we have free moments.....

The woman opposite me, who is someone who is used to me smiling at her and making funny comments, looked over at me, and commented on how serious I looked, and I said quietly "I'm thinking".......

I didn't have chance to tell her later on what I was thinking of, though.
And she'd have probably thought it very odd if I had!

It was wind.

Not wind as in the embarrassing trapped body sort of wind, wind as it weather.
And more to the point, how I was going to capture it within the painting I'm working on at the moment.

Because part of the brief for the landscape painting is that it is Autumn, and there are leaves blowing, and that there is wind.

Which is fine, because that's easy enough, to paint blowing leaves to emulate wind. But, it's far more than that, because this painting is abstract. So, that makes it more difficult to depict. Because I need to show the wind, within the paint. But, last night, whilst thinking, I think I may have found a way of doing it! A way that makes me happy that I've got it right, and that it will work as a concept.

And it involves black paint, and also silver paint.

And just to excite me even more, the art supplies that I ordered last weekend arrived this morning with a friendly van driver. He brought me a large canvas to work on, and some paint...various colours of oil paint....... some of it............ in silver!

Connecting Adsheads fifty years apart

2011-02-15T09:58:00.001Z

My friend Stuart rang me yesterday to tell me I was mentioned in a local East Midlands paper, the Derby Telegraph.

He had written a long article for the paper reminiscing about his wedding 50 years ago comparing it to the prices and times of nowadays. He regularly writes articles for their "Bygones" features describing his life and the things he remembers of his childhood and younger days working for a bookmakers by the name of Norton Adshead in Burton on Trent. I asked him if he could get me a copy and he said he'd already got one and would send the relevant sheets on to me...... and they duly arrived this morning.

I read it with a mixture of warmth and general happiness as he writes informatively and interestingly about his life. But it was the final couple of paragraphs of the article that caught my attention most...

"I have recently tried my hand at being a life model for a talented local artist. By a strange coincidence, her name is Jackie Adshead, but she has no connection with my former employer.

I found it a very interesting experience but really hard work. She has drawn six nude studies of me of which I am very proud. There's life in the old dog yet!"

I'll ring him later to thank him for the article, and the mention, but I know how much he loves the drawings I've done of him, as he shows them to everyone in his life close and far. I think he's a wonderful example of trying new things even later on in life, and enjoying the contact of communication. Cheers Stuart!

Batch theory

2011-02-11T20:30:00.000Z

I have a theory, well, I have many actually, but this is one that always seems to be true in my life. That things happen in batches, and also don't happen in batches as well. Let me explain........

This week is a busy week for me, I'm sorting out various things that need time and input from me, which is all fine, because I like to be busy. But I knew that I needed to pop into the library at Burton on Trent to discuss the talk I shall be doing there in three weeks time. I knew it would help me to see the venue, and suss out where I should be standing and hear what would be needed from me. I've half written my piece, so that's not a problem although I have noticed that the time slot fluctuates in various conversations, between ten-fifteen-twenty minutes that I need to talk for! So that needs to be finalised fully. The librarians are friendly and pleasant and the two I know best there were helpful in their advice and support as we discussed the event and the date for International Women's Day. I came away happy that I knew what was expected of me. And went in search of a suitable top to buy to wear for an Erotic Artist doing a talk to a group of people who might be vaguely interested. Perhaps they're expecting something sexy but paint splattered!!!!

And as well as that I have been asked to paint a commission. Which is great. I love commissions, unlike a lot of artists. I received an email the other day mentioning it and enquiring about prices, which I replied to and was delighted when it was accepted. And I loved the fact that it was inspired in a way from the erotic abstract that I showed you the other week of browns, purples, silver, red and creams, although the subject matter is totally different and not erotic at all, although it does depict love.........

....love in various forms......

The commission is quite specific, which is good for me, and means I know what is expected of me. It will be a landscape of a beautiful famous place in England. It will depict two people in the fore-ground with their pets. It will feature the parents of one of them, and their pet. It will also depict the dead brother of one of them, and the dead mother of the other, as spiritual beings looking down at them. And there will be eyes and happiness depicted in the painting possibly within the trees. And weather, Autumnal weather with wind. And a cloudy forbidding sky. And it will be vibrant and dramatic. And just to add to that it will be abstract. So a abstract/surreal/fantasy/spiritual painting of a famous landscape.

Which is very exciting for me to do.

But just to add to it, to make it incredibly poignant for me......the dead brother was actually one of my closest friends.............................

Does that make it easier or harder, I wonder.

And I think the answer is "Easier".

Because I loved him, as a friend. He was one of the nicest men I've ever known, and he was and is deeply loved by his brother who has commissioned this painting. And he is deeply loved by his parents who will be featured in this painting.

There will be a lot of love within it.

As well as weather!

I'm so going to enjoy doing this.

........

I was going to make this blog post about the erotic abstract I showed you last week and explain a bit more about it and how it was designed and how I created it, but I'll leave it for another time, soon....

And I was also going to tell you about my friend, the local historian writer, Stuart, who gave me a beautiful Camellia from his well established garden, this week, which I shall love having in my new garden. I have planted it in a large blue ceramic pot which is outside my front door, and when the yellow and cream blooms appear they will compliment the pot beautifully. I will enjoy having it very much and shall treasure it as a gift from my friend.

You see, I've got so much to tell you!

I bet next week nothing happens!

Its the batch theory, you see!!! LOL

Does anyone else do this, or is it just me?

2011-02-10T13:19:00.002Z

After doing a bit of shopping yesterday I returned home, pleased with my clothing purchases. I'd found three tops in the sales that I liked - two of which are more "arty" in that they are highly patterned and brightly coloured. I particularly liked one of them as it has various shades of pinks and blues in it, and plan to wear it for my talk at Burton Library in a few weeks time.

But the third top was a bright turquoise, a plain turquoise, and a colour I adore.

I hung it in the wardrobe without thinking, and turned away....

Then turned back.

No, that's not right.

I've gotta move it.

It couldn't hang there, where it was.

I moved it along to another setting, and studied its new place.

Then quickly moved other tops on hangers around too.

That's better!

Much better.

They're all in the right place now.

You see I'd put the turquoise one next to a red one, which was next to a pale green one, which was next to an orange one, which was next to a blue one.

And that wasn't right.

But by the time I'd finished........ they were in this order

Red, orange, yellow, green, blue, indigo, violet...........

With the turquoise one between the greens and blues, where it belonged!

Is it just me, as an artist, who has to put colours in rainbow order for me to feel more at ease with them? LOL

Competition answers

2011-02-08T12:32:00.000Z

Thankyou for the interest in this little competition - both here as comments and privately by email.

Right then, here they are the answers to the competition of the erotic abstract that looks like an abstract:

1. How many people are in the picture?     Three

2. How many men are in the picture?     One

3. How many women are in the picture?     Two

4. How many hands are in the picture?    Three

5. How many breasts are in the picture?    One

6. How many fannies are in the picture?   None, but there is just part of one visible
7. How many cocks are in the picture?     One

8. How many bums are in the picture?     Two

9. What is the red shape at the top left hand side?   the man's arm and wrist

10. What is the red shape directly in the middle of the picture?   The shadow under one woman's arm and the shadow of the other woman's knees.

So it looks like I get to keep my painting of "Kiss" then, since no one guessed correctly!

And I bet you're now looking at it again and thinking .................er....... how? what? where?

I'll explain all soon, but in the meantime it will help you to know that there aren't any full heads in the picture (although parts of two are visible) and no feet.

Does that help? Probably not!!!! LOL

Competition - spot the naughtiness!

2011-02-02T20:32:00.002Z

Right then, here it is - the erotic abstract I've been working on, unveiled at last.

It looks like an abstract. That's because it IS an abstract. Tee hee....
But, it is an erotic abstract. So that means that there's more to look at. Far more.
I have purposefully hidden the erotic aspect so that those who don't know, will only look at it and see brightly coloured shapes. But there are still a lot of the original lines and shapes within the picture that are showing the true image. I think I've made a good job of hiding the image, but I'd like to put it to the test. So, I will have a little bet with you, a little wager, to see if I am right.

All you have to do is answer these 10 little questions here:

1. How many people are in the picture?
2. How many men are in the picture?
3. How many women are in the picture?
4. How many hands are in the picture?
5. How many breasts are in the picture?
6. How many fannies are in the picture?
7. How many cocks are in the picture?
8. How many bums are in the picture?
9. What is the red shape at the top left hand side?
10. What is the red shape directly in the middle of the picture?

The prize is one of my paintings. It's this one here - and is entitled "Kiss" - It's 15 x 11 inches on block canvas and it is valued at £320. Everyone I know who's seen it loves this painting, as it's fun and sexy, but you can hang it on your wall and its acceptably erotic so even your granny wouldn't be upset by it! And it will go to the first person who can correctly answer the above questions, either by an email directly to me at jackieadshead@btinternet.com or as a blog comment below. The competition deadline is midnight Sunday 6th February 2011. So, you've got a few days to study it.......

And just to get you started off, because I'm kind, one of the answers is given in a previous blog post earlier this year........

Speaking to the crowd

2011-01-28T19:09:00.000Z

My friend the librarian rang me yesterday with a proposal.

It was one she had mentioned to me last July when I had my exhibition at the library, and she had been so upbeat about my art, and about me as an artist then, so the full invite wasn't a surprise, it was just that I wasn't expecting it JUST yet! She asked me if I still wanted to do it? Yes, I said, I do. She said that if my nerves were going to get the better of me, it was best if I backed out now, before they have the publicity printed. No, I said, I will do it. I said I would last year, and stand by my promises. Ok, she said, as she gave me the date, and the time, and told me what was expected of me. I listened to her, she's always so inspirational in her positive attitude and supportive comments, and feeds my positivity. I could feel the excitement rise in me as we made the arrangements.

It helps somewhat that there will be more than just me there. But, I can see why she's asked me, and I can see my place within the setting. And I feel strongly that it is the right setting for me. There will be others there too, also doing their bit, although their "bits" are different to mine, but then perhaps that's what will make it more interesting for the audience.The audience isn't expected to be more than a hundred people, but it will be bigger than I've spoken to before, hence her asking me if I was still happy with the idea.

The event is for Women in Arts, and she wants me to be part of it. I am proud to have been asked, and especially happy to accept since I am a female artist, mainly doing art based on women and the female form, so I can see my place there. I also know that part of what I do is good therapy for the people who have posed for me, and that I produce artwork that people really respond to, and which I hope is life enhancing. So, I am passionate about my profession as well as my art.

She wants me to talk for fifteen minutes with perhaps five minutes afterwards for questions. She assures me that as soon as I smile, I will win them over. She suggested I talk about any funny moments, any amusing tales, and just to talk about what I do..... as an Erotic Artist. Ok, an interesting subject already, and one that will intrigue most people before I start. Its my subject. I just need to get the subject matter in order, and dredge up the amusing tales.... there are enough of them, and certainly it helped when the librarian referred to me being the "cheeky one" during the event. I like that! It is, after all a cheeky subject. And although I am professional in my approach, I try to include humour and cheekiness within my demeanor, it helps to break any awkward moments I suppose for other people. I've got a few weeks to prepare, but I want to start as soon as I can to get my notes ready, and think what points I want to get across....... and whether I should mention the Fantasy Fannies or not. UUmmm........

Searching for secrets

2011-01-26T21:31:00.000Z

After yet another forced delay, I've got back to the painting I've been working on for a couple of weeks now.

The erotic abstract that looks just like an abstract, unless you know where to look.

I've taken the original full image and drawn it out as a simple line drawing and it's obvious what it is.

I've taken that drawing and hidden the lines of the form within the tones of light and dark, and its less obvious as it what it is.

I've taken that image and drawn it as a black and white image, colouring in the shapes with greys,and its far less obvious again, as it what it is.

I've taken that image and done a couple of small paintings with full colour in the design and I think the image is hidden enough.

Its so hidden that even I am having difficulty working out some of it! LOL

So, I think I might have a little wager with you, when its done. To see what you can see in it.............

Tits and all

2011-01-21T19:08:00.000Z

The art workshop being the first one of the calendar year tends to be a little more off beat than the others. I think the organisers think that we need something stimulating (and messy!) to get our creative juices running. And I tend to agree, as it certainly helps me get my mind and art back on track after the excesses and lethargy of the Christmas period.

This months workshop was "murals on board" which sounded a bit vague to me. But I knew the "board" would be provided at the workshop, at extra expense, depending on the size we each chose. And I knew I had to take along acrylic inks, ordinary inks, and acrylic paints, and pastels as well. Ok, then, a mixed media workshop... but the sizes of the boards are an unknown, and may be six foot across for all I know.....they are murals after all......

I arrived just as the tutor was explaining her working process. She gave us the option to use the white painted side of the boards on offer, or the plain wood untreated side, complete with all the imperfections that that side offered for use. For we were painting on thick chipboard. She encouraged us to see into the patterns and shapes within the wood and see what inspired us to paint. I've done this sort of art before, and can "see" things within the random shapes, but they tend to be two most definite types of things...... I wondered if I would see anything else ...this time.......

I chose a piece of wood that looked interesting to me - a long thin piece, about eight inches wide by a yard long. And had decided that I would opt for a horizontal picture rather than a vertical. I stood looking at it quizzically at arms length. It was just a piece of wood....what would be within it - what image was calling out to me, what image could I feel......

The tutor joined me, and stood looking at it as well. She pointed out shapes that I couldn't particularly respond to - but I agreed, that there was indeed part of a cat, and part of a few other animals within it. But not enough to call out to me. But there was ONE creature there that I could see clearly. Surprisingly! A blue whale.... MMm.... what on earth could I do with a whale......!!!?

"Well, that's decided it then!" I said. She looked at me, enquiringly. And asked if I could see any abstract shapes within it, and whether I was happy about making it more abstract? I smiled, and said that doing abstracts was easy for me, and I know that some people struggle "seeing" abstract, both as artists creating them, and the spectator viewing them. But, that wasn't the case for me. Infact, I do a lot of abstracts. She asked politely "What subject matter?" and I smiled and said "Erotic abstracts!" Which caused the usual opening of the eyes as the eyebrows shot up, from her. "In that case, I'm really looking forward to seeing what YOU do!" she said. I nodded, and said I'd see what I could do........

I returned to looking at the board, as she continued around the class with constructive advice and practical help. And nodded to myself, as the familiar images came to me..... yep, the usual two......as I'd suspected, and expected.....

..... figures and faces.........
but the figures are female, and nude.......

That means only one thing then. If there's a whale there, then they must be mermaids......

I looked further at my board, and easily and effortlessly found a couple of mermaids, complete with tails, for me to paint within the surface markings. But, to balance the picture, it needed another one. But, would that be male or female? I stood considering the concept......

.....MMMmmm........If, they were all female, then that made the concept of the picture "Erotic but playful". If there were two males and one female, it made the picture "Erotic but with male dominance overtones possibly suggesting aggressive tendencies". But, if there were two females, and one male then it made it "Erotic with interesting overtones of what two females and one male were going to get up to!" - Ok, then, that's decided that then!

I started work on it - with inks at first to see how they reacted to the bare untreated wood - but wasn't happy with the results as the inks soaked in too much and lost some of their vibrant colour. Ok, on to the acrylic paints then as they are stronger and will sit on the wood.....

....the tutor came to see what I was doing, intrigued with my subject matter. She asked if the three partly marked out mermaids were all going to be women? I said no, one was going to be male, I felt. And she made me laugh out loud when she announced robustly "Well, it depends if you paint tits on them!" And I smiled in agreement, yep it certainly did!

I carried on painting, and did indeed paint "tits" on two, and not on the third, he had "pecs" and a six pack (very nice!) instead..... !

The painting wasn't finished during that workshop. It needs further work doing on it, and will certainly need a lot more paint on it than there currently is. But, I received a couple of emails in the week after the workshop from the tutor, and we had a bit of a chat through it - and I was delighted when she commented

"Your mermaids had rather a compelling attraction I thought, one is obliged to seek out what is going on..... Always a good thing, the longer someone stares the better."

Good, she sees the story that I could see within the basis of the painting, an interesting idea that will form in peoples heads, and which will add more depth to the subject matter. And I told her that I consider that mermaids are "acceptable erotic" by most people - even little old ladies who like chintz, and children find them "nice" and not aggressively sexual. I will certainly work on the picture some more, but not for a while. I still have other work to finish......

But, in the meantime, have a mermaid or two to show you from previous paintings I've done..... The one on the left is called "Dance of the deep" and is in watercolour. The one on the right is called "Out of the blue" and is also in watercolour but has gold gouache paint in the mermaids tail which gives it far more interest I think, as there's that flash of gold as she flicks her tail and the light catches it. Hope you like......

Suprise suprise

2011-01-17T16:52:00.000Z

Her mother hadn't a clue. It was just an invite, after all, for dinner. She regularly asked her mother around for dinner, so why would it be any different this time?

But it was.

Her mother knew I would be there. But there was nothing much different in that either, since we had met a couple of times before, and had eaten meals together in the past. So, nothing different in that.

But there was.

We stood chatting as she prepared the meal before her mother arrived. We both knew my part in the arrangement, although we didn't discuss it. It lay between us as a tacit arrangement.

Her mother arrived, full of chat. We exchanged greetings, and talked as women do about many things.

The meal was served, the wine flowed, and the chat continued. I wasn't nervous, I'd done it before. But not before in this particular way......

After the meal, we sat around the table, and she told her mother that she had something for her, and nodded at me. I left the room and went to collect it, returning a couple of minutes later. I could see her mother hadn't a clue as to what it was. I had expected her to guess, but I think she was thinking future tense, not past. She had asked her daughter to ask me for a print of the picture I had done of her, on the understanding that she would pay me for it. She hadn't expected that her daughter had already arranged it with me, and that the frame and mount had already been chosen a couple of weeks ago, and that I had taken them away on my last visit, to put the print in all ready for her birthday. So, she showed surprise when she was presented with the picture. And delight. Absolute delight. She kept looking at the picture, her eyes couldn't leave it. I watched her watching it. Her eyes returning again and again to it.

And I felt that warmth in me, that I sometimes get when I get the chance to see what I saw then.

Sometimes I don't get to see it, like when a picture is sold through a gallery or at an exhibition. The buyer does it all without my presence needed there. But, I saw it today. I saw someone fall in love with one of my paintings. They keep looking at it, their eyes keep returning to it. The feelings that they feel then, will cause happiness for them, it will fill them with warmth and comfort. The bond between them and the painting will be forged, and will be strong in those first few moments.

That's the feeling I love to see. Because, I've caused it.

It's better than winning the lottery for me, to see that.

Windows on the world

2011-01-14T11:33:00.000Z

There I was, quietly working away, when...

The phone rang.......
I answered it (as you do....)

"Hello, can I speak to Mrs G"
"She doesn't live here any more"
"Oh. (pause) Are you the new home owner?"
Cautiously I replied with a "Yes", waiting for the loaded next question....
"In that case, do you know that your windows need replacing?" she chirpily asked.
"Do they? Why is that then?" I asked her.

"Because they're ten years old!"

"Are they indeed?" I replied with a smile "How are you aware of that?"

She paused, obviously reading something in my amused tone.

"Have you replaced them recently?" she asked me suspiciously.

"No, I haven't" I replied crisply, with an inward smile.

"In that case they need replacing, because they're ten years old!"

"Mmm..... that's interesting that you think that ,as the house is actually only EIGHT years old..................................."

I came away from the phone with a smile. And then a thought. Maybe I ought to check with Mrs G who I bought the house from in December, who bought it from brand new, to see if the windows ARE infact ten years old. Perhaps they stood alone and freely on the building site for two years before the house was actually built..................

I went back to the job I was doing. Working on the erotic abstract which was coming along nicely. I'd started with an image that was definitely erotic, and drawn it out as a line drawing, which just simplified the basic shapes. But, it was still erotic, and quite obvious to anyone as to what it was. And then came the fun bit. To take that basic image and disguise the shapes and lines. To do that, I looked at where the image had light and dark areas that merged together, forgetting the lines of the bodies, and just looking at the shapes and how they appear together, and marrying them together, making them less obvious. That already makes the image far more abstract. But the next stage will be to take each of those shapes and change the tones for contrasting ones, as that will disguise the shapes even more so. So where there is light, I will make it darker, and where it is dark or medium tones, I will lighten them. I'm hoping that at the end of it, even I will have problems seeing what is where. Then it will truly be abstract.

But, not to the point where you can't see what is what, if you know where to look.... and how to look at it........ its just tricking the eyes, and then teaching them how to look in a different way......

Awaken within

2011-01-11T22:35:00.000Z

Today was going to be reasonably quiet, with me working on the new painting later on - probably about sixish. But, as is sometimes the case, things didn't go quite to plan........

It turned out that I had to make a journey today I wasn't expecting, a car journey to deepest darkest Essex. Well, actually that's not correct, its a very pretty part of rural Essex even in the middle of bleak winter. But the journey had to be made, to help another out, to collect something that isn't mine, from someone who wasn't there (are you following this?). So, although the journey took over two and a half hours, I was only at the venue less than five minutes, and then headed straight back again, with a short stop on the way down, and way back, for a coffee and loo break. So, seven hours more or less, of travelling, and not doing what I had planned to do, today.

But, it meant I could do one thing. One very important thing.

I could think.

And I like thinking, especially when its about an exciting new painting I want to do......

By the time, I'd finished off the other chores for the day, its gone 9pm. Well past 9pm. But, that doesn't matter either, because when I'm fired up, time disappears, and I'll happily stay up til well past midnight getting on with the art and working on a painting.

I'm still in the design process though at the moment. The part when I put some inspiring music on, and get a pencil out, and some pieces of paper, and start playing with shapes, and lines, and tones.

But, when I start work on it, I can feel the excitement build in me. The way it catches my breath as I realise that the lines are flowing. Particularly when its an erotic abstract, one depicting more than one person.....

This is going to be a good one......

Not infront of the children

2011-01-07T16:58:00.001Z

Discussing the subject matter of the painting with the person who has to live with it is always hugely important. I always ask questions to make sure that I am in total understanding of what they want, and why they want it. This conversation started with various questions from me - and one of them was whether she wanted the painting to be erotic? The answer came back that she would really LOVVVVVE it to be erotic, but because she had youngish children living in the house with her, she couldn't possibly consider it as an idea. I thought about that, and realised that the basis of an idea was forming. I suggested that it may be possible to make it erotic, but keeping it innocent too. She replied "That'd be a challenge!" "Yep," I happily replied, "And I lurve a challenge!" - let me have a think about it, and I'll come back to you with some ideas.

I spent the night ruminating (as you do!) :)

And the next day rang her to discuss my idea.

She had already provided me with some photos for me to work from. I spent some time going through them searching for the ones that would let me put my idea into practice. And I had found a couple that were ideal for my purposes.......

I explained what I had in mind. She listened at the other end of the phone, and agreed that it should work, and would achieve exactly what I described to her. And she happily gave me the go ahead to do it! YAY!
The idea of it excites me. And better still, it excites her. I'm totally fired up with it, and can't wait to get started on it!!!! I just had to ask her if there were any colours she particularly wanted in it - and she said her bedroom colours of cream and brown. Because this is definitely a bedroom picture! And I think it will look great in her bedroom, and asked if she wanted to add any more colours to it - suggesting red may be good? She agreed, caught up in the idea "Yes, red would be good, it's the right colour for it!" And then went on to suggest two other colours she likes - purple, and silver. "Was silver going to be a problem?" She wondered, and I said "No, I've got some silver acrylic paint, it'll work well with it!". And said that I might incorporate some black in it too, to balance it with depth of colour, which she said was quite acceptable. And we agreed that adding the extra colours to the cream and brown meant that if she changes her colour scheme at some point in the future that it would still go with various other decors.

So, as far as her children are concerned, it will be an abstract painting. There will be lines, and blocks of colour, shapes, and tones. It won't look like anything but an abstract.

But, to those who know what it is, it will be far more than that. It will be lines, and blocks of colour, shapes, and tones. But they will definitely mean something. Something very special.

Because it will be personal. Because she will be be in the picture. But, more than that............

There are actually three people in the picture. And they are all naked. And they certainly aren't being innocent.

Truly erotic. And yet, at the same time, not.

The sort of picture I love to do!!!!!!!!!!!!!!!!!!!

And as an example of what it will look a little similar to - here is my "Tarse and Queynte in gold" painting - a simple abstract in creams and gold...................

The Artists House

2011-01-03T19:50:00.001Z

When my new friend the muse visited my house over Christmas, she wasn't sure what to expect she informed me after the visit. She hasn't known me long, and didn't come to my previous house, so she only knew what she had seen of ME, and of the conversations we had had....like when you pick up from people that they have a strange unexplained phobia over the colour of duck eggs, or they casually mention that they have a desire for a chandelier in the downstairs loo, or that they really really love barbie pink zebra stripes in the bedroom.

So, she came to my house, blind.

But, she did have one idea of what it would be....

It would be an Artists House. Because that is what I am.

But, when she visited, she told me a few days afterwards, it wasn't what she was expecting......entirely.

The house was exactly as I had described it to her, she said, but it was what was within the rooms that was the unexpected. For instance, one thing in particular surprised her.....and that was that I am TIDY. I think she was expecting an eclectic mix of mess scattered on every flat surface, perhaps dried up paint brushes mixed in with the dirty laundry, and congealed marmalade on the telephone lost behind the toilet in the bathroom. Because, that's how all artists are, right!! Er, well SOME of them are, but I'm not one of them! I'm tidy. I try not to clutter my self up, because I know that I won't work productively if I haven't got a clean(ish) space around me - and that includes my house as well as my studio.

And she was expecting half finished canvas's drying on every available space. And that would normally be the case, but I haven't been doing any art recently due to all the other problems in my life that I've had to deal with. So, next time she comes, that should be part of the set up. She will smell the turpentine, oil paint and linseed oil as she walks through the door. It will be a tangible thing that assails her.

She was expecting more colour within the colour schemes of the house. I am an artist after all. But, I've only just bought the house and have taken on one that was painted in soft creams by the previous owners. I have learnt to live with the innocuous colours, but to start with it was a little strange for me. I left behind (my choice of) strong colour schemes at my last house and like colours around me, so I'm certain that when the rooms are redecorated, there will be more depths of brighter colour put on the walls in some of the rooms if not all. At least none of them are brown, or grey, both colours I find depressing.

She was expecting more arty ornaments and nick-nacks in the house, and I know that they will appear when I find them in the many boxes which are still awaiting being opened. That's a definite!

She was expecting more pictures on the walls too, I think. And although I have finally got some pictures up, there are still more to hang, and more wall space to fill - so that will happen too.

But, since she has said that she was expecting more, I have been looking at the house and seeing what she means. But, I also know that there are signs within the house of who it belongs to......... the studio has a work board out, with various paints and brushes around it, work in progress ideas sketched on pieces of paper, and a "Jackie Adshead member of the Guild of Erotic Artists" framed certificate on the wall (That's a huge clue, isn't it?!). In the room I'm using as an office there is a couple of large book cases full of books on art, erotic art, travel, and an ever growing pile of International Artist magazines. In the lounge there are more art books, and some small erotic sculptures of naked women, and one of an erotic couple. And in my bedroom, there is erotic art on the walls - and will soon be another one as the large centrepiece of the room, when I have painted it - at the moment its just an idea.

So, the clues are there.

But, I want to make it more than just subtle perceived clues. I want it to be screamingly obvious, to all visitors alike! ! !