paintings
flowers
these paintings are becoming more about repetition, vital in creation.
motifs repeated
a lot from a little
all the paintings are guided by this principle
the panel is a fine support for a meagre gesso and pencil drawing.
egg tempera, in the tonal underpainting, is used to create a sharpness and light in both atmosphere and touch.
the use of coloured pigment with dammar and oil draws focus.
beeswax softens and unifies the panel.
all layers are visible trapping images between layers.
Entries to the Seaburn Show Triptych
3 individual panels combine to become Entries to the Seaburn Show
Anastasia Fire, over ripe, leggy red and golden bloom in late evening sunset. leaves drained of life to feed the fading bloom.
Popular with Japanese artists and gardeners of the Northeast alike, the Chrysanthemum is a staple of horticultural show competitions.
Anastasia Sunny, full yellow bloom in midday sun with strong leaves
arranged in florist spirals with emphasis entirely on the bloom, the only colour. The leaves and secondary blooms are left in tonal grey tempera underpainting, as support for what is important in judging the entries, the bloom.
Anastasia Green, fresh buds in an early morning light with unfurling leaves
drawn from life, built tonally in egg tempera, coloured with pigment, oil and
dammar and waxed, with the coloured bloom varnished.
individual panels 24x24".
The Ozone Smells Faintly of Geraniums.
geraniums - chosen for their vibrant red colour. A drawing, then a painting of the poor display in the containers, in my garden.
The Ozone Smells Faintly of Geraniums. is a quote from QI.
They have a particular and memorable smell.
48x24''
I am only one and that is one too few
Buttercups - chosen for their resilience, strength and determination, forcing their way through the Forsythia and ferns.
The title is a nice Dean Martin lyric.
48x24''