High tide, Three Cliffs Bay, Gower.

Oil painting on canvas laid on board, 15×10.75 inches.

Email me at pobbles2000@yahoo.com if interested in purchasing this work.

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Breezy Spring afternoon, Mumbles Head

Breezy Spring afternoon, Mumbles Head, 10×10 inches, Oil on canvas board.

Recently I’ve been going through my old paintings, those that I’ve given up on and tossed to one side, thus adding to an already cluttered studio. Perhaps it’s something to do with it being Spring, but I’m in a decluttering mood. I’m poring over each painting deciding whether it should be destroyed, or scraped down and painted over with another subject, or repainted (some are resistant to rehab and get chucked anyway).

Every painting that reaches that elusive stage where I’m reasonably happy (though it has to be said never 100% happy!) seems to generate a motley array of canvases that don’t make the grade and are abandoned. So, it’s particularly satisfying that the painting of Mumbles above which fell into the abandoned category, I’ve now repainted and am reasonably happy. I guess it’s a bit like the return of a prodigal son!

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Some inspiring notes on colour.

Low tide, Three Cliffs Bay. 16 x 12 inches, oil on canvas board
Late afternoon, Autumn, Three Cliffs Bay. 10 x 10 inches, oil on canvas board
Morning sun, Three Cliffs Bay. 12 x 12 inches, oil on canvas board

To make these three recent paintings, I used a more limited palette than I would usually, retricting myself to cadmium red, alizarin crimson, French ultramarine, cadmium yellow – plus, of course, titanium white. I had read several books where this sort of restricted palette is recommended.

It proved to be a useful exercise in stretching my paint mixing skills which I enjoyed. I tend to spend maybe twenty minutes mixing the colours I intend to use before I start applying paint to canvas. I find this to be a calming down process, a good enjoyable way to start the day, almost meditative. I try to ensure that the colours work together, and, importantly, to mix a sufficiently generous amount of each colour – you always need far more than you think!

There are advantages in a restricted palette, especially for those new to painting. It makes life easier in so far as you can get to know each colour more intimately, discover their individual qualities and how they intermix. It also helps to bring harmony to the work. And for the plein air painter it means fewer tubes of paint to lug around!

However, I read notes on colour by Ken Kewley at paintingperceptions.com last night and it really opened my eyes. He advocates the opposite to my little exercise above – and he does it with such inspiring words! There’s a lot of food for thought here and I recommend those who are interested and who need a little inspiration to read it all. One of the many points he’s making is to forget about colour theory and trust your instinct. He’s saying forget all you know about colour wheels and concepts such as complementary colours, simultaneous contrast, warm/cool colour, etc, and simply paint, “just do it” – to coin a phrase. Play with colours, allow yourself to experience the joy of colour. Don’t think too much, tune into your unconscious mind and feel the excitement of colour. 

I can see what he’s getting at. It ties in with other stuff I’ve read, but it also resonates with those occasions when I’ve been lost in my painting, when my painting hand seems to be plugged into some deep primal part of my brain and goes off in its own sweet way, without referencing the years of accumulated knowledge stored in the frontal lobes. It’s been called ‘being in the zone’ in other contexts, and I suppose it has much in common with meditative practices. 

I could write much more about Ken’s ideas, but I’ll leave it there for now, and allow you to judge for yourself.  

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Pobbles & Three Cliffs Bay, Gower

Oil on canvas board, 16×16 inches.

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Early evening sun, Three Cliffs Bay, Gower

This is one of a number of paintings that has been hanging around in my studio for some months unfinished. So this week I took it upon myself to finish it, and this is the result. I’ve tried to capture that warm early evening glow from the autumnal sunshine that pervades the landscape and envelopes everything in it. The sea is flat calm, tranquil, no wind, just one of those rare evenings where you can easily be seduced into believing that God is in his heaven and all’s well with the world.

12 x 24 inches, oil on canvas mounted on a panel.

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New year; new pochade box

My apologies for not having posted anything for three months, the reason being I suffered a bereavement and so painting has been put on hold for a while.

However, I am now back in the saddle, and rearing to try out the new pochade box, that I purchased from Martlet Pochades based in Penza, Russia. An excellent product and an excellent service. So, now I am all set and determined to get outside and do some plein air painting again. Watch this space!

The painting above was not completed outside, but is a trial run using one of a series of 10x8inch panels I cut and applied with three coats of gesso. The pochade I chose to purchase has space to carry two wet 10x8in panels. The subject of the painting above is that old favourite of mine, Worm’s Head, Rhossili on the Gower Peninsula, south Wales – my local playground!

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A few notes on painting

This week I discovered a rich seam of drawings, paintings and videos online of the American painter, Martin Campos, at work. I found them inspiring, and below I’ve jotted down some notes of things I have taken away from my viewing. These primarily serve as a reminder to myself, but I thought they might be worth sharing on this blog as well.

1. Use big brushes, and learn to use them, discover what they can do through continuous practice. Avoid small brushes as far as possible.

2. Use a roller – on its own, or roll down on paper towel over the paint. 

3. Use generous amounts of paint. The more paint you mix the more successful your painting will be. 

4. Don’t over mix your paints.

5. Use knives and spatulas as well as brushes. Leave the impasto until last.

6. Be fastidiously clean, clean your palette regularly and often – about every 20 minutes. Wash brushes and rollers, etc. frequently.

7. Enter into a dialogue with your painting, add and subtract paint. Don’t be afraid to make changes as the painting develops…

8. …remember not to treat your painting as precious. Enjoy the doing. 

9. Use the best pigments you can afford such as Michael Harding, Winsor & Newton Artists or Old Holland.

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The Great Tor, Three Cliffs Bay, Gower

Yet another painting of The Great Tor, Gower. A beautiful beach, a monumental chunk of limestone – what’s not to like about this place. It’s a subject I never tire of painting.

All work is available for sale. Enquiries: pobbles2000@yahoo.com

The Great Tor, Three Cliffs, Gower. 16 x 16 inches, oil on canvas board.

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Painting my favourite bay

This summer I have spent a lot of time swimming, walking and drawing in this beautiful corner of the Gower Peninsula. This is the Great Tor, the monumental promontory that separates Three Cliffs Bay from the smaller, and lesser known, Tor Bay. These are rocks I know well having been drawing and painting them for some 40 years. Below is a closer view of the Tor with the inclusion of figures to give some idea of its monumental scale.

I continue to try to loosen up my style of painting – still a very long way to go! – but I have left both these paintings be, when once I would have spent more hours putting in detail and moving in with a smaller brush to sharpen everything up.

Receding Tide, Tor Bay, Gower, oil on canvas board, 36.5cm x 36.5cm.

Exploring the rocks, Tor Bay, Gower, oil on canvas board, 12 x 12 inches.

Both paintings are for sale. Enquiries to pobbles2000@yahoo.com

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The loosening up process.

This is a follow up to my blog entry a few weeks ago, Painting and Gardening, posted 5 June. It’s the development from the underpainting of Rhossili. As you can see the square format is no more! To my eyes the composition wasn’t working so I decided on the rather drastic (and irreversible!) step of cropping the painting down to a rectangular format. There’s something about taking a saw to a painting that feels a bit like an act of vandalism that grates against my gut instinct, but I feel it is good for my soul – accepting that no individual painting is that precious, but part of the flow of a continuous learning process.

I’ve been studying the work of American contemporary painters: Martin Campos, Douglas Fryer and Sangram Majumdar, amongst others. I love their boldness and liberal use of paint, the way they allow the paint to do the work and incorporate accidental effects into their work. I am experimenting with the use of tools other than brushes – trowels, knives, rollers and silicon paint shaping tools – in order to relinquish some control. I am feeling this is now the way forward for me.

This is a detail from another painting I’m currently working on. The roughness of the edges and general mark making, which may not look unusual to most, are nevertheless a bold departure for me.

The paintings above are still clearly recognisable and controlled, but at least I have resisted my strong compulsion to tidy it up, put in more detail and tighten up aspects of the work. It’s a start. Onwards and upwards!

Looking back, Rhossili village from the clifftops. Oil on canvas board, 16 x 10.5 inches.

The Great Tor, Gower. 10.5 x 9.5 inches detail from a larger oil painting currently in progress.

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