Matisse and Me!

There is a huge show at the MoMa, New York about Matisse's cut-outs, and I have been enjoying all the images of works, films, photographs of Matisse in his studio, etc. that are available on the internet (the MoMA facebook page keeps posting them, so no need for me to reproduce here). The show was originally in London's Tate Modern last year, and somehow I missed the hype, so sadly didn't see it. Apparently the MoMA show is an expansion of that one. With all this imagery and information floating around, I have been reminiscing about my relationship with the master, who I freely admit has influenced my work. I think this is obvious from some of my very early work such as this Sleeping Dee Dee, oil on canvas,122 cm x 91.5 cm, 1980. 

The picture above is a re-photograph from a polaroid - I don't actually have any other documentation of this piece. I don't know if the painting still exists or not; I gave it to the model (my younger sister!) quite a long time ago.  As well as Matisse, I was also influenced by an unknown painter who attended Parsons School of Design in New York. Before I painted this, a friend of mine had started attending that art school, and a rep from the school came to give the students in my art school a talk. The rep handed out the PS of D prospectus which included a painting where the shadows were painted light blue. At the time this was a revelation to me and it is apparent that I did the same thing with my shadows at the first opportunity!

I did so many drawings and paintings of my sister while she was sleeping that friends who had not met her asked if she was ever awake. This Sleeping Dee Dee is smaller than the one above, oil on masonite. Again, I have no documentation of this other than this re-photograph of a polaroid.

This is an oil on masonite painting, also from 1980 of a woman who I had met in a bookshop near my art school. She was looking for a house-mate and I rented a room from her for one month, my first foray away from home.

Matisse's cut-out show also made me think of how I enjoy the playfulness of  art work. In 1989 I had a residency in the Tyrone Guthrie Centre, ostensibly to create new work for my first exhibition in Dublin. However, due to availability (or lack of) at the Centre, I had all but one drawing complete for the exhibition by the time I was granted the residency. In many ways this was very liberating: I was not under any pressure, had a large studio to work in, food was provided with fabulous dinners being prepared by someone else and a variety of artists (playwrights, poets, musicians, sculptors, performance artists, other painters) on location for lots of interesting discussions over coffees and dinners,

So once I had the last drawing complete for the exhibition (a large black and white, graphite, figure drawing), I changed direction and got out colourful pastels, scissors and blue tack. Using imagery from my dreams I created an entire temporary environment in the studio.

It was at The Tyrone Guthrie Centre at Annaghmakerrig that I met and became friends with Dublin painter, Pat Moran, who dubbed my studio "The Playroom". Unfortunately Pat died suddenly in 1992 at the age of 30, and is sadly missed by the Irish art scene where his expressionist, figurative painting and drawing is known.

Further to my interest in "cut-outs" as a process, this picture of me in 1993 with some of my paintings from the My Tower of Strength series shows how I used cut-outs (the birds above the paintings) to help me figure out composition puzzles.

Sorry for the poor quality of photos in this post, but all images are re-photographs of existing photos and used as part of my training in GIMP, a free software programme which I am learning in order to replace my reliance on PhotoShop!

More work on Fever Afterimages paintings

I have been working on the small(ish) paintngs of Fever Afterimages, slowly adding colour. The central yellow area here was originally a deep dioxazine purple (bits are still visible at the edges, so you can see how much a painting can change as I am working on it.

This is still very much in the early stages too.

I finished and signed this one today: Fever Afterimages 1, acrylic on canvas, 40.5 cm x 51 cm.

Directed Reading & Research!

In conversation with one of my sisters on the weekend, I found out about a free online course offered by Newcastle University via Future Learn. The course, Hadrian's Wall, tugged at my lifelong but unrequited interest in archaeology and I quickly followed the link my sister sent me and signed up! It is a six week course (starting last week, but it was easy enough for me to catch up) completely online, using written, visual and video aids to discuss all aspects of Hadrian's Wall -- it's architecture, social aspects, history, warfare, politics, etc.

Essentially the course is directed reading where the course participants can choose their own level of commitment -- you have the opportunity to interact with other students via a chat feed, take quizzes, do further reading (in each section there is further recommended reading). A visit to Hadrian's Wall has always been on my wish list and now I feel like I am getting closer to it.

While I was on the Future Learn website, I also signed up for two additional courses! "Shipwrecks and Submerged Worlds: Maritime Archaeology" is a four week course, starting next week, which is offered by the University of Southampton.

My visit to the archaeology museum in Antibes last year piqued my interest in maritime archaeology. Antibes was historically an Ancient Greek harbour and nearly everything at the beautiful little museum was found in the sea nearby from sunken ships. I loved this corner of the museum with all the barnacled storage vessels.

The third course I signed up for does not begin till Jan 2015 and is also a six week course: "The Archaeology of Portus: Exploring the Lost Harbour of Ancient Rome". Again, it is offered through the University of Southampton. I know there is some madness to my methods (it's not like I am lacking in things to do!) but these courses are giving me some directed reading and who knows how it will eventually manifest itself in my other work. It's all very exciting to me!

Feeling woolly!

I am happily overloaded with bags of wool! I have loads of Cass Art bag-for-life bags (Cass Art is a great art supply chain in the UK that I visit every time I am in London) and they are great for holding skeins of wool and then hung from the end of the banister in the stairwell...

Though it is coming along slowly (still having pains in my wrist if I do too much at once) I am happy with the way my African Flower blanket is coming along. I realised that since I was going to introduce some new colours (wine/maroon, grey, sarasota orange, emerald green) I had to make some more flowers using those colours before continuing crocheting the flowers to the blanket. 

A closeup of some of the flowers I am working on.

I am also sorting the flowers according to their outside colour. The overall design of my blanket is that the petals are a specific red (it's a poppy-cadmium colour) and the joining colour is cream, but all the inner and outer colours are not repeated (so colours with the same outer colour never have the same inner colour and vice versa).

I have also started another blanket. The "Mile-a-Minute" blanket pattern uses three colours to create oblongs which are then sewn together. My main problem is trying to keep track of counting numbers as the pattern starts with chaining 206! So I have count that about six times...

Fever Afterimages - painting!

After the past week of lovely weather and dealing with the damsons - picking & canning (jams & chutneys) - I have finally gotten a chance to get back to the studio. So, I have been working out the compositions of my three small paintings in the Fever Afterimages series.

 And have started to add some colour.

I have always liked the contrast between this chromium green and the purple/pink/blue combo. But this is just the start, so who knows what it will end up looking like!

Damsons & Blackberries!

We had a fantastic summer and we continue to have a fantastic autumn! Last Sunday and the Sunday before we had gone for afternoon family strolls in the woods up the side of Bray Head with the express purpose of collecting blackberries. Now there are plenty of pie-sized blackberry packages in the freezer for future use, and I made my first blackberry-apple pie of the season. Delicious with cream...

My husband and daughter kept spotting all the different types of mushrooms...

We don't know which ones are edible, but hopefully will find out soon as my husband is going on an organised foraging walk this Sunday with the experts.

I love mushrooms, but certainly am no fool. Every time I see mushrooms in the wild I am reminded of the film The Beguiled (starring Clint Eastwood and Geraldine Page) and the sorry ending Clint had...

Yesterday a rural friend invited my husband and I down to her place to enjoy the morning picking damsons. Her tree was the motherlode! My husband affixed a ladder to the tree and was wholeheartedly picking when our friend had a great idea...

...he could prune the tree and we could pick damsons at ground level!

We went home with a bushel of damsons and a few apples to complement blackberries in a soon-to-be-made pie. I've now got damsons stewing for jam, my husband has started several bottles of damson liqueur and is going to start some damson wine today. Oh halcyon days of autumn!

Sept 3 1995 - RIP Dad

It's been 19 years since my Dad passed away. Where did that time go? Dad is a presence in my life, most especially obvious in my love of music. My Dad was a musician (double bass and guitar) and a carpenter. Though I don't play any instruments, music is an important part of my life and I have always loved making things -- painting being my prime focus.

In 1996 my double installation exhibition in The Basement Gallery (Dundalk) entitled "Pastures Green and Dreaming for Dad" was both a memorial to my Dad and a celebration of life. After passing through two large painted curtains of calla-lilies in the smaller room, one encountered a small icon diptych. The curtains were set away from the wall in such a way that the lighting cast a great shadow. The curtains are each 226 cm x 162.5 cm, acrylic on polyester net curtain.

Calla Lilies Icon (Dreaming for Dad), mixed media on handmade paper, 17.5 cm x 25 cm (diptych).

Recently I came across a reference to William Shatner meeting a "sawyer" at a desert diner and wondering what that was. Well I had never heard the word in terms of someone who played the saw musically, but that was how it was explained to Bill...It reminded me, however, of my Dad and the day he bought me a lovely saw and then pulled out his bass bow and showed me that the saw could be played to produce an eerie sound.

Dad, mixed media on wood, 23 cm x 15.5 cm, 2009, collection of Tallie Whelan, Ireland.