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 beautiful 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.
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.
Yellow in the triptych and a nice Dean Martin lyric.
48x24''
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''
entries to the seaburn show
fire
Popular with Japanese artists and gardeners of the Northeast alike, the Chrysanthemum is a staple of horticultural show competitions.
Anastasia Fire, over ripe, leggy red and golden bloom in late evening sunset with leaves drained of life to feed the fading bloom.
entries to the seaburn show sunny
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 Sunny, yellow full bloom in midday full sun with strong full leaves.
entries to the seaburn show green
Drawn from life, built tonally in egg tempera, coloured with dammar and pigment and waxed, with the coloured bloom varnished.
Anastasia Green, fresh buds in an early morning light with unfurling leaves.
Individual panels 24x24".
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