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

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

Art flow overrides blocked head flow

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!

Earthy ideals

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.

Falling in love with a colour and a memory

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

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.........

Just a bit too good

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

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

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!

Looking back

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!

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.....

Mothers, brothers, and tears

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....

Royal Crescent at Bath - past present and future

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.

Almost there

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?

Music and movement

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!!!!!

Batch theory

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

Anything you like

My good friend from across the seas rang me yesterday - a delightful suprise to hear his voice, and satisfying for us both  to have our usual interesting chat together He could hear how upbeat I was about setting up my new house, and getting my studio up and running, and we talked of  my art, as we always do. I made the comment that I just lurvvvve painting, no matter what the subject. He laughed in agreement and said jokingly "You'd even enjoy painting my computer, wouldn't you Jackie!" and I laughed back in amusement.

And then I realised a truth.

That I would actually really enjoy painting it - even if it was something as "unexciting" as a computer. I'd enjoy drawing it out, choosing the colours, painting it, getting the lighting and compostion right, and looking at the finished picture, knowing that I had painted it and got as good a match to the original as I could.

Having said that, I'm sure you could think of far more interesting subjects for me to paint.....................

Dirty little secrets

Its always nice when a friend asks if you're free to meet him in town for a meal. Its even nicer when you know that he doesn't live in this area but over two hours away by road but just happens to be coming up from the London area for the day. So, I was delighed to accept with alacrity. The fact that he was bringing a friend was a bonus. Especially when I knew who it was, as she was someone important in my life although we'd only met briefly once before.....

The day shone bright (and so it should for flaming June, EVEN in England.............!) and I met them at the appointed time, in the market place where there were busy bars and restaurants. I found them straight away and greeted them both with a hug and kiss. We sat chatting over drinks aboout the weather (how English!), the people in our lives and the lastest gossip. And then I was able to ask her the question, the one I KNEW I was going to ask her..............

"So, how do you like it then?"
And she replied with a big grin and said "I love it, I love it so much I've bought a mirror so that I can see it from both angles"
I smiled with delight and asked her if others had noticed her secret?
She shook her head "No, they haven't"
I was even more delighted to hear that. That was EXACTLY what I wanted to hear!
Infact a guy she knows had been standing really close to study it and he hadn't seen it. Not until my male friend had said "Are you looking for the filth?"
I guffawed with laughter when he said that, as I knew he was being provocative and amusing with that  pointed comment.
Because he was talking about this. This painting I did a couple of years ago which was a gift for the woman, something commissioned for her, and given to her by two close friends who know her tastes well and wanted to give her something special and unique. So they'd contacted me and asked me to do this painting for her. Its called "Towering passions" and is the skyline of New York at night. But hidden within the painting is a naked couple, making love. But most people don't see them, because they're expecting to look at the verticals and horizontals of the skyline and don't expect that there's a secret in there. A secret only a few know about. And that's why she bought a mirror, so that she can see it from all angles when she's sitting in her lounge. How good is that!!!!!!!!!!!!

Connections reconnected

The coffee was deeply delicious, rich and luxouriously strong, with just a touch of cream and sugar, and tasted more than sweet on my tongue, as I'd just unveiled the watercolour painting of St. Wystans church in Repton, and the elderly woman who had commissioned it had just told me how pleased she was with it! And had clapped her hands in delight at the first sight of it.     YESSSSSS!!!!!!!!!!!!!!! Success!!! We sat and chatted about Repton since it is a village I know very well, and infact I was fascinated with her appartment since I had known the large building she lived in many years ago in its previous existance and was fascinated to see how it had been adapted for multiple living quarters. Her  gorgeously appointed appartment in particular was filled with natural light on this warm March day, with sunlight streaming through the large south facing windows. We hadn't met before but got on extremely well as we discussed our lives and interests. Only a brief time together, but we made a good connection, as women sometimes do. As she walked me back to the front door, she commented on the two mediocre watercolour paintings of Repton that had recently appeared on the communial hallway wall and said, in dismissal of them "I don't care for them much". "I'm not surprised" I said in agreement "They're not very good". We shook hands as I left, and headed out into the welcoming spring sunshine again.

Whilst I was in the village I popped into the local bank and ended up having another long chat with the two friendly women behind the counter there. One of them commented on my surname and its pronunciation, and through that we ended up chatting about the reason I was in the village, to deliver a watercolour painting I'd done and then because of their interest I went on to tell them about the goddesses painting I'd recently done, and other paintings I've created and the reasons behind them. And to say that I wanted to speak to the chap in the post office since I'd been told by the woman I'd met with earlier that there weren't any decent pictures of mine in the post office when she had gone in specifically to look for them as she'd seen my work before and wanted to purchase it.

And then on to the third reason for being in the village. A visit to the post office. Which should have been a pleasant experience based on the previous conversations of the morning. But the instant I walked through the door, I was greeted by.....................a dull and heavy greyness that pervaded the shop, the light, and the atmosphere. After the sunlight and into .........well............a netherworld. Of uncared for merchandise sitting forlornly on dated wornout shelves, cardboard boxes piled up on old racks, abysmally ameraturish paintings that were well above anyones eyesight, and should be deleted off the face of the earth rather than exist in any art appreciating world.  It took me a full two minutes to gather my shocked thoughts together, and go up to the counter where a shady character sat in the deepset gloom. I peered at him through the glass partition.
"Can I help" he dully enquired
"Are you the Post Master?" I asked cheerfully
"No, I'm not" he said
"Can I speak to him?" I asked hopefully
"No, I'm the only one here" he replied as the atmosphere deepened another notch.
"Ok" I said, a little less brightly "Well I'm an artist and have done pictures of Repton in the past and I was wondering if you'd be interested in having some of my pictures on the walls here but, er, you seem to be, er, having some er, building works done" (That was the politest way I could think of, of putting it!)
"They're lowering the ceiling soon" he explained, as if that made up for the lack of any interest shown in marketing anything within the confines of the shop. Then he roused himself and said "You'd better speak to the Post Master. He's next door. In the grocery shop"
"Ok, thankyou" I said, wondering WHY he had been incapable of telling me that in the first place, and gladly left the gloom of the shop, its sole inhabitant, and the sad forlorn merchandise.

I almost didn't bother to go to find the Post Master, since if he could leave his shop in that state, was his shop really the place I wanted my paintings to be?

But, I thought, at least I'd have closure on the idea and could forget about it after I'd confirmed my apprehensions. So, into the grocers shop I went. And behind the counter was a handsome, smiling face of someone who knows what he's doing and has "purpose". Things looked considerably brighter! I explained who I was and the fact that I'd had a conversation with the guy behind the counter in the post office who appeared to be "bewildered". He noddingly said "he spends most of his life like that" (which went some way to explaining things for me!). Anyway, after a short but incisive conversation it appears that he is indeed interested in having my artwork in his shop, is in the process of updating the shop, and that I've contacted him at exactly the right time regarding getting my artwork in there. So, I need to get some more paintings done, and return in a couple of weeks so that we can get it all organised.

The sun was still shining on me, after all!

On the right path

After sorting out whatever the problem was with the headless chicken, he came to see me for us to discuss the work I've done so far for the goddesses painting. He knew he'd asked for a complex painting, when he asked me to do the commission, but I hadn't realised how complex it was until I started doing the research - three weeks of reading up in books and on the internet about each goddess and comparing notes to make sure that they were all telling me the same thing. So then after that, I was ready to find the basic image for each goddess having found out about her persona and having the beginng of an idea of how I interpreted how she looked. Of course this is all MY version of how they look, and not necessarily what anyone else would think. But then the whole point of this painting is that it is ME who is doing it. He wanted me to do it because he knows I'll do a good job, because he knows I'm greatly interested in the subject matter and the style of painting, because he wants a woman artist to put the feminine into it, because he's seen my "Enigma" painting on my website and wants the Goddesses painting done in a similar way. I've shown it here so you can see what I'm talking about. But most of all he wants me to do it because he's wanted this painting done for years but hadn't found the right artist to do it for him. A woman artist who can paint mystical paintings. He told me when he first contacted me that he had  asked the universe to send him an artist to do the goddesses painting, and the universe had sent him me. Ok, I won't argue with THAT then !!!!

 But I wanted to go through my thought processes with him to make sure we're on the same wave length - and it seems that we are! I showed him my sketches for each goddess, and the layout I proposed for the painting, and he nodded happily at my decisions and explanations for each one. I told him about my gut reactions to some of the goddesses and the way that had led me to make various decsions regarding the images and how they would all pull together. He nodded again, smiling. And asked me which one of them was leading me most - which one did I have most empathy with, and I smiled and instantly replied "Diana". He was surprised but pleased at my confident reply. I also told him that I felt very strongly that she had demanded to be in a certain place within the picture, and yet I had overrridden that and put her in the central position. He said that the left side of my brain was taking control, and I agreed it was, and that made me instantly think that I'd be better to return her to the original place that I had felt that she was to be in. This picture more than any other I've ever done is based on the feel of it.

I smiled in recognition of that and made the decision to put her back where she wanted to be.

All of these goddesses are strong personalites and they will make their feelings known to me, I'm sure, as I start to paint.

Then he asked me which medium I was going to work in. The "Enigma" painting is done in oils, and I felt that the end result of this painting would look best in oils, the subtlety of each face as it merges into the background is best done in oils, I can capture their beauty better that way and make any small adjustments as I go along.

BUT.............

He knew there was a "but" and pushed me for my thoughts on it. What was my gut reaction to the way of painting this picture - what did I REALLY want to paint it in?

I hesitated to answer him, and he pushed again for me to explain.....

My thoughts were this - that the oils would certainly capture the images well, that the goddesses would look beautiful and I could do them full justice in the oils, but the background would lack the magic that it needed to pull this picture together. Because this is what this picture holds more than anything else - M A G I C - the feel of it, the sign of it, the ambience of it has to be in the picture. That is what this is about. And oils, wonderful as they are, don't pick up on that to the extent I need it. And boy, do I WANT it in this picture. He nodded, as I explained that, and agreed, that that is what I'm going to have to do. I smiled as I met his eyes, and he could see I was all fired up with the idea, it fed my creativity, and the picture wouldn't flow if I didn't do it.

But here was my problem again - if I do the painting in watercolour, with the pour-on technique that I love so much, the magic would be in there, but the faces wouldn't have the depth of personality and character that I wanted, plus watercolours are notoriously difficult to get right for faces, and doing SEVEN of them would be more so.  Mmm..... lateral thinking was needed!

Ha! Got it!

I would do TWO paintings. The first would be done in watercolours, with each goddess's face put where she is going to be in the picture and the basic outline drawn out, then I will carefully paint masking fluid over each face and let it dry. Then I'll choose my colours for the background - a deep blue, maybe two different blues, possibly a deep purple, and probably another colour I haven't finalised yet - a deep green or even dark red, maybe even gold.  Each colour will be mixed in its pure form in a small pot. I'll wet the whole of the paper, and then pour on each colour, here, there, a bit more, working over the whole painting, and seeing how the colours swirl together on the paper, finding their shapes within the water and causing lovely fluid lines, but as they reach the masking fluid the colours will swirl past them and on to the next free area. The hardest part will be for me to not get the inclination to *play* with it, to walk away and leave it to dry overnight. And then the next day, to go and have a look at it like a child on Christmas morning, full of bright eyed wonder,  to see what magic has appeared on the paper - there will be light areas and darks, pure colours and mixed colours in bright hues, and to build on those colours as my background, for the magical background of this most magical of paintings.......

And then, and only then, will I be able to actually start the painting itself. To paint in oils the effect of the watercolours, to capture that beautful loose effect with a brush. Its the only way I can get around the problem. With some lateral thinking! Hard work? Certainly! But I shall love every minute of it!!

In search of the Goddess within

Before I paint someone it helps to know a bit about them. Just so that I have a better understanding of the essence of that person, to be able to incorporate it into the portrait. I don't need to know all the tiny details of the persona, just the bare facts will help. For anyone really. Male, female, young, old, mortal or immortal....

Immortal? You ask. Certainly! A beautiful Goddess, no, more than that - seven of them!

So when I'm asked to paint a Goddess, I need to know abit about her.
When I'm asked to paint seven Goddesses, for one painting,  I need to know about each one. In some detail.

I always say that nine tenths of painting a picture, no matter how complex it is, is the thinking that goes into  it. The subject, the composition, the techniques to use, the medium, the size, the story behind the image, the whole ambience I'm trying to capture within my painting. So, seven Goddesses needs a lot of research, because I don't know much about any of them, infact I'd only heard of three of them when I was asked to do the painting......

MMm.....some background details are needed, I realised. Start to find some more about them, to be able to capture the essence of each one... but that has made me realise that I need to read up even more on each of them, as being a Goddess is obviously a very complex thing. You've got a lot to be Goddess of, I've found, and some of them have varied and diverse connections.......

Take, for example, Hecate, the goddess associated with witches, ghosts, magic and crossroads (why crossroads I wondered, why not just roads?), torches (why torches specifically? why not just "fire"?), dogs (what's dogs got to do with anything to do with magic, witches and ghosts?), doorways, yew, garlic, aconites,  raisin cakes (what the ?!!) masks, candles, owls, bats, trivia, sheep - particularly black female lambs apparently, snakes, boars, willows, sapphire, silver, dark moons, and specifically the number three (what a weird mix THEY all are!).

I haven't found out much about Demeter yet, she is the Goddess of grain and fertility, ploughing and harvest, the bringer of seasons - and all of that sounds very nice and gently rural and buccolic - especially when I consider Kali!

There's Isis - a moon goddess of medicine, wisdom, motherhood, fertility, children, reincarnation.

And Astarte - goddess of war AND fertility, love, sexual energy and desire (how on earth are THEY connected?).

And Innana - source of the earths wells, springs and rivers, she is the goddess of sexual love, fertility and warfare (ah, there's starting to be a pattern here!) associated with lions, mating and fertility of humans and animals, and with rain and storms.

Then, there's Kali - who seems to a bit disconcerting to me -she's associated with eternal energy, time and change, war, death and destruction. But when I mentioned to my spiritual healer friend that I found Kali to be very dark, she told me that Kali "is actually a really nice goddess even if she DOES have the ability to be a bit stroppy". Mm...... "stroppy" eh? She seems more than "a bit stroppy" to me!

But my favourite is Diana - the ancient lady of the beasts. Mistress of wild things, especailly anything young and vulnerable, goddess of solitude, the wilderness and the great silences of nature, she is a moon goddess, a self sufficient goddess who lives life on her own terms. She is especially a goddess of women, and all the phases of womanhood, she stands for the part of us that is at home in the wilderness, in our primitive, instinctual nature. Goddess of the hunt, associated with wild animals and woodland, swelling on high mountains and sacred woods, especially oak groves.

Mmm..... I can really relate to the goddess Diana already- I can feel what she is. I can feel her force. I'll start with her, and see what I can see of her face, and then I've got to draw her and capture that essence in paint. Easy, eh?! :)  And that's before I start on the others - particularly Kali!!!!