Tag Archives: research

Mondays are for Walking

Autumn is creeping in, with September gone after soaring temperatures followed by torrential rainfalls. The season change has caused us to pause and reflect on  changes in our lives here in Newcastle. Dealing with loss of loved ones leads to recallibration of priorities and needs, and so my partner has cut down his hours and I have altered mine leaving us both free to spend Mondays walking in the beautiful North East landscape. If you get the opportunity, I can recommend walking for wellbeing.

Each week we have picked a route of around 10km, in different locations; coastal, moorland, riversides and woodland. Incredibly, all the routes so far have also included remarkably good cafes! (More on that later!) I haven’t stopped to get out my sketchbook yet but have been busy with my camera and collecting bag.

The walks have provided thinking time to mull over project ideas and the landscape is certainly proving inspirational.

Week 1: From Craster to Low Newton and back, via Dunstanburgh Castle

We started this walk with tea and toast at the Shoreline Cafe in Craster, truly excellent toast!

We found this spider hanging outside one of the little cottages on the dunes near Low Newton- beautiful markings

On our return the temperature seemed to have warmed up enough to get these little frogs hopping- we had to be very careful where we put our feet!

Dunstanburgh Castle looking dramatic against the sky line,

Lunch at the Ship Inn, Low Newton. It had to be crab sandwiches and kipper fish cakes!

A mad dash back to Newcastle saw us reach Grey Street in time to catch the end of stage 3 of the Gour of Britain bike race – think we overtook them when the riders got stuck at the level crossing in Widdrington!

Week 2: Allendale  around Stobbs Cross

This walk started with a visit to an art gallery…and cafe- can you see a routine forming 🤣

We went to The Allendale Forge to see a beautiful textile art exhibition by the very talented Kate Slaughter and then got our energy levels up with a tasty vegetarian breakfast.

I found this walk quite hard, the landscape seemed bleak to me and the wind was fierce

Lower down the route, hedgerows were covered with rose hips, hawthorn berries and the last few blackberries.

We saw several beautiful brown butterflies whilst we were on the moor – I need to check if this caterpillar was related to them!

Week 3: Derwent Valley from Swalwell to Thornley Woods

We couldn’t go too far from home today- kid taxi duty later – but this gorgeous walk is only 9 miles away- so lucky to live where we do.

We walked a whole mile from the car park before ‘accidentally’ finding Land of Oak and Iron a heritage centre that just happens to have a lovely cafe attached 🤣 more toast and tea tested- 👍👍👍

We walked across the viaduct and then went down to follow the river.

Wasn’t quite so impressed to find this-almost as big as my foot!

Thornley Woods has an accessible sculpture trail- and another cafe! These walks are all easy to reach by bus from Newcastle too!

Week 4 Alnmouth to Lesbury,Bilton and Hipsburn and back

Heading up the A1 this week, calling at Swarland for…yes, tea and toast – you really need to try Nelsons in the Park 4 slices!!

I love Alnmouth, a village full of art and cafes right on the coast- this time though it was all about the river. So after a short walk along the beach we turned inland to find the Aln.

This little hut features in one of my miniature scenes

We walked through the golf course and across a field warning of bulls – luckily they seemed to be elsewhere.

This little robin was quite fierce- he flew right up to my face twice as we tried to pass him- surely it’s the wrong time of year for nesting?

Another viaduct- this trainspotter just missed the 1 o’clock to Edinburgh going overhead!

And after all those steps? A vegan spicy cauliflower pie fromScott’s of Alnmouth

I hope we can continue these walks as the weather turns, we’ve been lucky so far but if it does get grim, we might switch to urban walks with (more) cafes and cinemas!

Progress through process

New work is my focus, I’m applying for several, larger shows so I’ll need work to display (& sell!) I’ll let you know which shows if I get accepte!

I would like to make larger pieces but these are obviously time consuming, and more difficult to transport. So, I’ve decided to focus on 40×40 landscapes for a while- my plan is to get 4 done in the next 6 weeks 😱 that’ll keep me out of mischief (but p’raps not too busy for school and national politics 😉)

Our family week in Wales was fantastic- why did none of you tell me sooner how gorgeous West Wales is??

In between sea swimming and ice creams there were cliff walks on the beautiful Pembroke Coastal Path and visits to Tenby and St David’s. My sketchbook didn’t get quite as much use as I’d hoped but my mind is full of experiences and my photo album is full to bursting.

So this week I’m sketching out the four images that I’m hoping to develop. I’m drawing them to the chosen scale and taking a quick tracing of the main composition to help with building up the appliqué.

Then I get the paints out. I’m using watercolour, water based dyes, inktense and some acrylic. When I paint, it is never the final stage- it is very definitely part of my process; painting allows me to assess how I am going to construct a piece. I can think about colour, texture and composition.

When I’m mark making with brush or pencil I’m thinking about how to transfer it to cloth and stitch. When I apply colour I’m thinking about what fabric and threads I’ll need (thanks Oliver Twists for the threads 😉) The process of painting and drawing helps me to develop my composition ideas into textiles and work through any issues.

I’m pleased with the two images I’ve developed so far, now I’m deciding whether to crack on with these in fabric, or to focus on getting the other two designs developed to paint stage. I’m tempted to start the textiles but I think it would be interesting to get the 4 designs done and then work on the four pieces.

What would you do?

Notes from an exhibition 

Joan Eardley -A Sense of Place

Joan Eardley has become a favourite artist of mine. An exhibition of the Glasgow Girls at the Kirkcudbright Art Gallery introduced me to her paintings of Glasgow children. I was drawn to the use of collage and lettering in the background, and the bold colours. Curious to find out more, I began online research and was struck by the energy Eardley captures in her land and seascapes. I tracked down an exhibition in the Clydebank Gallery  a year later  – and worked a visit into that summer’s holiday itinerary (!)

It was fantastic to be able to observe first hand the work that I had seen on line. The landscape paintings are around a metre square,the seascapes even bigger, as if she was trying to make life-size representations of the scene in front of her, so powerful. Imagine trying to manipulate a canvas or board that size outdoors in Scottish weather – Summer and Winter! The texture and colour were inspiring. As I stood in front of the work I tried to follow through the process; looking at underlying colours, often very strong and dark, the way thicker paint was applied in parts of the composition and, how in places real plant matter was embedded in thick layers of paint. There was a book supporting the exhibition. I bought it and took it home to study.

I started trying to build the ideas I gained from studying Joan Eardley’s work into my own textile art; stronger colours, more consideration of composition, thinking about how and where to build up texture. Learning from another artist is empowering, encouraging creativity. The biggest lesson is that reminder that in working in situ ideas and feelings flow into the work.

Then, in December 2016, I found out that there was to be another, more comprehensive exhibition of Joan Eardley’s work at the Scottish Museum of Modern Art in Edinburgh – it took me til’ the February Half Term break to persuade my family that they really wanted a weekend in Edinburgh! We compromised – I took them to the Camera Obscura, they accompanied me to the gallery. We met up with friends there, it was good to be able to discuss the work with a great pal – and ex art teaching colleague (Hello Linda!)

This exhibition includes work from throughout Eardley’s all too short career. Completed paintings are supported with sketches and studies, photographs and artefacts and a wonderful film of the artist at work. The work is divided into five rooms, themed through chronology and subject matter. Again, I was entranced by process, the use of media, expensive paints used sparingly then splurged or padded out with filler to create texture. Sketchbook pages stuck together to make a big enough surface to draw on. Collage worked into paintings and sketches. Again, I was struck by the sense of life and energy in the work. And there was another book…

I got the chance to return to this exhibition on Saturday. It was a very short follow up visit- only an hour to go through the five rooms. I was on a weekend trip with the 12 year old, ostensibly to visit the Knitting and Stitching Show and hit the shops with her left over Christmas money. So, we negotiated and an hour was what I got! Focus and determination was the plan. In each room, I studied the pieces that most grabbed my interest, standing in front and typing notes directly on my phone (must get faster at touch typing!) So what follows is the transcript of those notes, with images from the books I bought to remind me. Even reading through them now I get that rush of adrenaline and excitement – it is so important to continue to study other artists’ work. It gives me enthusiasm and ideas, a sense of determination to continue with my work so I get to what I want to achieve. The exhibition is on until the 21st May 2017. I don’t think I’ll get another chance to see it but I have my memories – and I hope there’ll be another one soon….

Fields Catterline 

Be bold bright blue and orange ochre in with greens and charcoal

Obvious layers thick rough texture

Brush marks long embroidery stitch

 

Field with wild flowers 1960-2



Dashes and squiggles with patches on top

What happens if I add larger pieces (organza) over small?

Marks go in & out of focus

Turquoise lime green salmon pink

July Fields 1959


Flat patches either side of texture flower wedge

Patchwork raw edges

Thick thread stitching in texture

That blue again

Summer Fields 1961 


Speedy marks texture change direction

Colours layer and smudge together

Small clear details catch the eye

Real plant matter smothered in dripping paint

Harvest 1960-1


T shape composition

One side blurred – yellow ochre

Just fabric- minimal stitch

Centre -green/ochre heavy texture

Right- greens clearer bold marks over thinner paint

Fields under Snow 1958


Many grey and ochres large smooth patches overlap

Charcoal & burnt umber on top

Brush marks unravel like frayed yarn

Beehives Storm Approaching 1961


Sky smooth blended

Green jade under grey umber

Black black house

Rough tweed tea texture field

Aggressive wind whipped marks

Sketches




Pastel on paper in sketch book

Rust marks

Stitch collage on top

So much energy
Winter Day Catterline 1957-60


Turquoise under umber white peach

Smooth sky

Textures land

Mud fest
Gable end of tenement 1955


Charcoal umber terracotta flashes

Big flat fabric patches

Stitched over

Organza
Two Glasgow Lassies


That pinny

Flame over blue grey

Is it torn, faded, dirty?

Lettering emerging

Stained glass colours

Child before a tenement window 1958-60

Illuminated window- lace curtain?

Positive/negative lace/graffiti
Glasgow Corner shop 


Sketchbook collages of local shops

New series collage raw edges mounted on stained white
Children playing in a street 1960


Pen n ink drawings – become machine stitch sketches?
Girl and Chalked Wall 1955-60


Lettering (for Julia)

Texture on dress French knots

Such a Chagall blue
Summer Sea 1962


So big bold and wild

Paint drips and slashes across the wide sea

Shore is dark as peat

Surf crashes desperately on to it

Short thick vertical marks become wide dripping horizontals

Taste the salt spray
Winter Sea III 1958


What was it like to paint in that storm?

Everything crashing rapid direction changes

Difficult to see through pouring rain?
Fishing Nets Catterline 1962


Ochre n khaki beach thin brush texture visible

Cross hatch netting
Seascape 1956


Sunset fire colours in the waves

Sun thick like butter on burnt toast cliffs

What colour!

Pause for Thought

Its half term here, no school for a week, the clocks have gone back so the evenings come quickly, giving time for reflection on what I am making and why I am doing it.

Two new sources are infiltrating my ideas this week, firstly Boro textiles. Wonderful recycled cloth from Japan. My initial research shows that these fabrics were made of necessity from worn out fabrics and garments by peasants in Northern Japan. More details on the wonderful Sri Threads website.

I love the texture and layers of these fabrics, they seem to encapsulate time passing, weathering, the effects of nature. 

   
   
A step further on from my appliqué and stitch perhaps. It’s certainly giving me ideas; new influences slosh around in my mind like ingredients stirred up in a cauldron. These fabrics are bumping up against those Joan Eardley landscapes I’ve become so attached to, sketchbook experiments are developing.

In the post today, I received a lovely book by Alice Fox. I’m taking part in a workshop weekend with her in a couple of weeks, so I thought I’d do some homework beforehand. 

 

I was reading the first few chapters with a good cup of tea, when I discovered that I shouldn’t be drinking the tea but using it as a mordant! So now I have a baking tray full of tea soaked rusty objects in the front room!
  
I KNEW there’d be a use for all those rusty items I’ve collected! The book also mentions lots more textile artists, some new, some familiar, all further cause for research. 

I’m collating boards on some of these themes on Pinterest, it’s a great way to store ideas and themes. So long as I don’t spend too long searching and too little time making….