Polar Places

I came across an artist on etsy.com recently whose work I really connected with. I think this was particularly so in light of my own recent work about an imagined frozen landscape. The artist is Karinna Gomez from Fairbanks, Alaska in the United States. She makes small series of prints – mezzotints, woodcuts and etchings, sometimes handcoloured with watercolours as with the print above. This piece is called Persimmons in the Snow. Persimmons are an orange red fruit that grow on the Ebony tree. These trees can tolerate and adapt to a wide range of climates including harsh Northern weather. I love the striking contrast between the white hills and snow covered valley and the dark central group of trees that are lit by by these red speckles, a kind of  earth bound constellation. I love too the vastness and silence that is suggested by the empty retreating hills and the dark sky beyond them. The only colour in the piece and the only sign of growth and life is this tiny little fruit. My second favourite piece (below) is like the first. This one is called Land of Weather .

 

Land of Weather by Karinna Gomez

 

 

 

 

The features of the previous piece are here, light versus dark and a grouping of dark fruit lit trees. There is more sky here though and an icy breeze seems to move across in a flurry of cloud. The central grove is bowl shaped and is cradled by the expansive landscape on all sides. They stand like a resilient group of survivors struggling against the elements.

The last piece I have included here is a mezzotint called Icelandic Water below. This is a slightly different printing technique which allows half tones of colour to be produced.

 

Icelandic Water by Karinna gomez

 

 

 

Darkness dominates this piece, punctuated only by white streaks and lights. The snow capped mountain in the background makes way for the night sky dotted with a few tiny stars. The title suggests that the large expanse in front might be water. It is broken up with bright uniform shapes that look like something man made or are they reflections or perhaps both? When I wrote to Karinna, she told me that she is drawn to the histories of polar exploration and aspects of Northern life such as self sufficiency, independence and solitude. Also the weather, land and geography of the North. Her work is an attempt to make imagery that expresses these primary interests.

If you like what you have seen here, check out Karinna’s work in her etsy shop. Her beautiful limited edition prints are very reasonably priced.

Imagined Places

I have been working on two more paintings which are based on an excerpt from Paul Harding’s book ‘Tinkers’ (see ‘Water, Snow and Ice’)

I had a strong idea in my head about what they might look like and I worked quickly so I didn’t pause to take photos along the way.

This piece below is a view of the frozen lake from afar. I wanted to include the cabin this time and a view of the lake that would include the water under the ice.

I started by sketching out the mountain shapes in charcoal and then the lake shape in the foreground. I applied the paint quite thickly in an effort to portray the ice and snow and I used a combination of blue paint and ink to describe the water. I then used gold and brown to paint the figure as it has slipped through the ice and I continued this shape underneath where it is dropping down to the bottom of the lake. I used small drops of metallic ink to describe the fish and underwater creatures and I bubbled the ink on to the paper to achieve a watery effect. I decided to leave the top part of the piece as it is – sketchy and thin, because I think this gives it an atmosphere of cold and quiet and I like the physical contrast between this and the thicker use of paint in the foreground.

 

Imagined Place by Deborah Watkins

 

 

 

This next piece below is the lake from another angle. I’ve added a tree this time and I’ve made it swirl around the lake, following the lines of the snow to give the piece a sense of movement. I started this one by painting the circular lake shape, this time taking up most of the page. Once again I’ve flattened the perspective at the base of the painting so that the underside of the ice can be seen. I’ve used the white paint thickly and contrasted this with washes of ink to describe the water and the ice where it is thin. I used golds and browns again to paint the figure as it has slipped in to the water and is carried underneath.

 

Imagined Place with tree by Deborah Watkins

 

 

 

I usually base my paintings on things I’ve seen. Working from imagination hasn’t really appealed to me before but I’ve thoroughly enjoyed working on these, perhaps because this place was made so real through the writing.

Late Summer Hedgerows II

 

 

 

We’ve had a bout of hot weather since the last time I wrote about the hedgerows about a week ago. Since then the roadside plants have burst into bloom and the Montbretia ( above ) and Fuchsia are aflame with blossoms. I took these photos on a walk near our home.

 

Fuchsia and Montbretia plants

 

 

 

 

Here’s some more pictures of the Fuchsia. This plant is part and parcel of Connemara and it is in its full glory at the moment, slender branches weighed down with dangling blossoms.

 

Fuchsia flowers

 

 

 

 

Close up the blossoms remind me of tiny dancers in red and purple skirts, like a ragtag chorus line of marionettes..

 

Close up of fuchsia flowers

 

 

 

 

There’s a headiness in the air that’s hard to beat. It’s a combination of good evening light, balmy temperatures and real or imagined scents – I know these flowers don’t have a strong scent but there’s an atmosphere of sweetness a bit like the conjured up whiff of an unopened bottle of wine..

I stop to take a few more pictures along the way. I think the next one is Hogweed ( correct me if I’m wrong ) which seems unfair for such a graceful plant. I love its spray of seed like flowers, it’s own little bouquet.

 

Hog weed plant?

 

 

 

 

The next plant I encounter is the wild honeysuckle. It’s gorgeous fragrance alerts me to it’s presence before I spot it high in the hedge.

 

Honeysuckle plant

 

 

 

 

Here’s a close up. It’s such an exotic looking flower for this place, I am humbled by its presence. Right now there is no place finer or sweeter than the Connemara hedgerows.

 

Close up of Honeysuckle

Water, Snow and Ice

I’m reading a book that most of the world has read and enjoyed but which I am just discovering. It is ‘Tinkers‘ the novel by Paul Harding that won the Pulitzer prize in 2010. It is simply the most beautiful thing I’ve read in a long time and I am savouring every page. I decided that I would try to make some paintings to describe one lovely passage.

This part of the book describes the failure efforts of the protagonist’s salesman father to sell small pieces of jewelry to peasant women on his travels. The land is frozen and the women are too caught up in their own hardships to allow themselves this small pleasure.

 

‘He thought, Buy the pendant, sneak it into your hand from the folds of your dress and let the low light of the fire lap it late at night as you wait for the roof to give out or your will to snap and the ice to be too thick to chop through with the ax as you stand in your husband’s boots on the frozen lake at midnight, the dry hack of the blade on ice so tiny under the wheeling and frozen stars, the soundproof lid of heaven, that your husband would never stir from his sleep in the cabin across the ice, would never hear and come running, half-frozen, in only his union suit, to save you from chopping a hole in the ice and sliding in to it as if it were a blue vein, sliding down in to the black, silty bottom of the lake, where you would see nothing, would perhaps feel only the stir of some somnolent fish in the murk as the plunge of you in your wool dress and the big boots disturbed it from its sluggish winter dreams of ancient seas. Maybe you would not even feel that, as you struggled in clothes that felt like cooling tar, and as you slowed, calmed, even, and opened your eyes and looked for a pulse of silver, an imbrication of scales, and as you closed your eyes again and felt their lids turn to slippery, ichthyic skin, the blood behind them suddenly cold, and as you found yourself not caring, wanting, finally, to rest, finally wanting nothing more than the sudden, new, simple hum threading between your eyes’.

 taken from ‘Tinkers’ by Paul Harding, Chapter 1, pages 24/25 

 

This is how I started the painting below.

 

First stage of painting

 

 

 

 

The largest part of the painting is under water. I wanted to have a central shape plunging downwards and water gushing back upwards and in to the air. This is the next stage below.

 

Second stage of painting

 

 

 

 

I used lots of colour for the plunging shape – pinks, golds, browns, some red. I made several attempts to get this sense of movement using large brushes and lots of colour – blues first and then splashes of white for the water. It’s coming together here but I’m not happy with the top part. It doesn’t feel like a cold place yet. The next image below is the piece as I have left it.

 

 

Finished painting by Deborah Watkins

 

 

 

I used a broad brush, some white paint and some charcoal to work up the sky and I’ve darkened the water at the base of the painting. Now I think it feels like snow and the depths feel like murk. I’ll let the paint dry before I decide whether to add any more to it. What do you think?

Sky and Sea

The main interest in this little seascape is the sky. It started out like this (below).

I used lots of red at the base of the painting in an attempt to give the final sea colour a richness and depth. I’ve applied the paint quite thickly on the top part of the piece. I waited until this layer was completely dry before I worked on it again.

 

First stage of Seascape

 

 

 

 

This is the next stage below.

I’ve given the cloud shapes more definition and divided them in to dark and light areas. I then used some charcoal to mark out the rocks in the foreground and lots of blue and white paint to describe the sea. I’m happy enough not to do too much more with it at this stage and I wait for this layer to dry.

 

Second stage of seascape by Deborah Watkins

 

 

 

 

This is how the finished seascape looks below.

I’ve used charcoal to heighten the contrast in the clouds and give the illusion of rain falling. I enjoy using charcoal with paint like this although they are not traditional partners – what do you think?

 

Finished seascape by Deborah Watkins

Late Summer Hedgerows

The roadside is brightened with mounds of purple and yellow colour at the moment – the long flowering gorse ( remember when I took some photos of the first Spring gorse earlier this year? ) and the purple heather.

 

Heather and Gorse

 

 

 

The other colour that is starting to appear is the orange of the Montbretia plant. It has been visible until now as bright green clumps along the roadside.

 

Montbretia

 

 

 

 

The sight of the first few blooms makes me a tiny bit sad because it signals the beginning of the end of the Summer (what Summer I hear you say?) In a couple of weeks, these grassy banks will be bursting with swooping orange flowers. Here’s some more pictures.

 

Montbretia flowers

 

 

 

 

This next close up makes me think of Triffids

 

Close up of Montbretia plant

 

Welcome Back! Seascape in Progress

I’m back after my short break and I’ve returned to the sea to do some painting..

I started this one with the idea of setting up some kind of contrast between the bright shore line and the darker water out to sea. This is how it began below.

The sky takes up less than a third of the page so the emphasis is very much on the water. I’ve used a touch of red on the island shape and some charcoal in the foreground to suggest some rock shapes. The rest of the colour is a mixture of acrylic paint and ink.

 

Seascape first stage

 

 

 

This is the next stage below. I’ve used lots of bright colour near the shore line – turquoise, green and some pink. I find the colours of the sea seductive and inviting near the shore and I want to play this against the water further out towards the horizon where it becomes mysterious and dangerous.

 

seascape stage 2

 

 

 

The next image is exactly the same but taken a couple of days later. The paint has ‘settled’ and some of the thin layers in the foreground have shrunk a bit as they have dried. The colours have dulled a little too but I’ll bring them back later when I varnish the finished piece.

 

seascape - paint dry

 

 

 

This is the finished painting below. I tidied up the horizon line and added a bit more purple to the island shape. I also used some more paint and charcoal on the rocks. Once the paint was dry, I varnished the whole thing.

I’m happy enough with this one – it needed very little adjustment after the first sitting so I think it has an energy that reflects how it was made. I like the way the paint and charcol bled together in the foreground into these watery shapes that look like seaweed.

 

 

Finished Seascape

 

 

 

Do you think the contrast works here? What does the sea mean to you?

Summer Break

I love this Mary Wilson Little quote;

 

“There is no pleasure in having nothing to do; the fun is having lots to do and not doing it”

 

I’m taking this to heart for the next little while to spend some quality unwind time with my family..

Don’t go away!  I’ll be back in the second week in August..

 

Deborah

 

(Image taken from violetdart on etsy.com)

Paul Henry

I’ve been looking at some of Paul Henry’s landscapes recently and thought I might write about them here.

Henry was an Irish artist who was known especially for his West of Ireland landscapes. He was born in Belfast in 1887 and he studied art in Paris before his return to Ireland where he lived and worked on Achill Island (1910-1919) off the Mayo coast for many years. While in Paris, Henry was greatly impressed by the modern avant-garde movement of the time and the bold colourful works of Cezanne, Van Gogh and Gaugain. Landscape painting was no longer just about realism but about colour and energy and the individual mark of the artist’s hand. I love this quote by S.B. Kennedy in his book on Paul Henry where he describes these new ideas of the time:

“Cezanne and Van Gogh saw clearly because they had cast aside all the theories and prejudices of the Schools and were looking at nature as if for the first time, and above all seeing it with emotion.”

This notion of seeing landscape with emotion really resonates with me because it seems to me that this is what painting is all about. I imagine then how Henry must have taken these new ideals and applied them to our own peculiar landscape and weather conditions, without the heat and intensity of the mediterranean sun. He recognised the singular beauty of the landscape and the light in the West of Ireland and he learned to articulate this using his own palette of muted colours. The painting above is called ‘Errigal County Donegal’ (c.1930 Image taken from imma.ie ) and it demonstrates this very well. The setting seems to shimmer in a kaleidoscope of greys tinged with blue and pink against the golds and browns at the base of the painting.

This next image below is an earlier work (c.1922-23) called “The Bog at Evening’. I love the simplicity of this composition –  mountain, horizon line, turf and water. I admire the contrast that he has set up between the shadowy dark browns of the turf and purple mountain and the delicate pinks and pastels in the billowing cloud shapes. The reflections of the clouds in the bog water and the low evening light give the painting a perfect stillness where only the evidence of human activity now remains.

 

Image taken from D7ET website 

 

 

 

This next painting is called ‘West of Ireland Cottages’. Once more, the atmosphere dominates this piece, the vastness of the sky and mountains over the small settlement of cottages. The strong blues of the mountains sing against the yellow of the thatch and gold of the bog, a perfect example of how complementary colours can be used together with great effect.

 

Painting by Paul Henry

 Image taken from  Christies.com

 

 

 

This last painting (below) is called Bog Road. It uses similar colours but the tones are more subdued in the top two thirds of the canvas. The lightness of the sky contrasts strongly with the dark stacks of turf. The middle ground is highlighted with a streak of gold where the sun drops down between the clouds and sits beautifully against these ribbons of blue that he uses to describe the receding hills.

 

Bog Road by Paul Henry

 Image taken from Mayotoday.ie 

 

 

Perhaps the most impressive aspect of Paul Henry’s work for me is it’s apparent simplicity. Many of his greatest paintings seem at first glance to be composed of a simple arrangement of shapes and colours. It is the degree of complexity and subtlety within these seemingly simple choices of colour, tone, shape and gesture that make them so exceptional in my opinion. As a painter, I have so much to learn from these paintings!

What do you think about them? Do you think that they are relevant to day or have anything to do with modern Ireland?

 

 


 

 

 

 

 

 


Sea Holly and Thistles

I took some photographs of wild flowers beside the beach at Tra Mhor last week. I am constantly amazed at the variety of wild plants that find sustenance on the edges of the shore. I thought this plant (above) was a type of thistle with its sharp pointed leaves but when I looked it up later I discovered that it’s a Sea Carrot. The photo was taken after a rain shower so you can see the droplets in the pink flowers which gives it a lovely velvety appearance. The next photo (below) is of the flower head which is white and dome shaped with a tiny red central blossom.

 

Sea carrot flower head

 

 

 

I was pretty sure that the next plant (below) belongs to the thistle family but I checked it later and found that it’s probably a Creeping thistle based on it’s size and it’s soft lilac colour.

 

Creeping Thistle

 

 

 

The next photo is of some ants which are feasting on the thistle flowers – I’m not sure if its the nectar or the nectar eating aphids that they’re after..

 

Ants feeding of a thistle flower

 

 

 

This next image (below) is of some Sea Holly. It’s a bit like a giant thistle with it’s central globe of flowers but these ones are surrounded by large grey blue bracts or leaves.

 

Sea Holly

 

 

 

Sea Holly or Eryngium maritimum was believed to be an aphrodisiac in England in Elizabethan times – ouch! In fact, it was not the leaves that were used but the roots, which were candied. They are named in a speech by Shakespeare’s Falstaff:

 

“Let the sky rain potatoes;
let it thunder to the tune of Green-sleeves,
hail kissing-comfits and snow eringoes (sea holly),
let there come a tempest of provocation…”

The Merry Wives of Windsor’ by William Shakespeare – Falstaff, Act 5, Scene v

 

 

 

The next image shows a group of snails on a holly plant. When I looked closely I began to see dozens of them and the brown scarring and holes on the plants where they had been.

 

Snails on Sea Holly

 

 

 

Here’s a close up of one (below) right on the tip of a thorny leaf. I do believe that we made eye contact!

 

Close up of snail on Sea Holly plant