weathering

[WEDNESDAY 25 AUGUST 2010]
Step 1: paint in neon numbers.
Step 2: more verdigris coloured oil paint



Then the rain came. I propped the secret canvas outside for a brief spell of weathering, and retired inside for lunch.

While the secret canvas is getting wet. I turn my attention to the old "rock face": I am starting from scratch on the neon, so I begin by laying down a base coat of pink along the edges of the new serpentine line that trickles down the canvas. Done.



Next! Perhaps I'll try tackling a bit more of the red neon on green background. I need to experiment on 'No/Yes' before I can apply it to 'Ne Travaillez Jamais'. Cadmium Red and Permanent Geranium around the letters, then Cadmium Yellow with Titanium White to fill the letters in. And blend.

After contemplating my next move, I add a smidgen of white to the mix of Cadmium Red and Permanent Geranium on my palette. This is painted over the red glow and blended out again.

the application of various layers of filth, liquids and spirits

[WEDNESDAY 18 AUGUST 2010]
Small canvas. Projection. Draw outlines in pencil. Paint in with white acrylic. Mask areas with masking fluid. Leftover Permanent Geranium and Titanium White paint. Leftover Cadmium Red and Cadmium Yellow paint diluted with turpentine.

After much exertion I finally manage to open a pot of mixed up grey-green and paint it thickly over the top. (I made such a big thing out of that fact, but I never even took a photograph of the result...)

Wildlife watch: Look! There's a green woodpecker strolling round the field picking at insects.


Back in the loft, The Wednesday Painter throws some filthy inky, oily water down the small canvas...

The canvas is rubbed down to allow the application of a verdigris mix of Emerald Green and Prussian Blue with Titanium White...

Some time later: more ink flows down the surface, and then we're outside for a sprinkle with the hose...

The masking fluid is rubbed away (most of it had disintegrated, anyway, during the application of various layers of filth, liquids and spirits).

The canvas is left horizontal, a pool of grubby water, oil and ink glinting under the fluorescent strip light.

I THINK OF YOU AND I SMILE private view

Thanks everyone who came to the opening night of my exhibition, and if you couldn't make it along, there's still plenty of time to go and have a look - exhibition runs until 30th September.

Here are a few photos.

an empty nest

[WEDNESDAY 11 AUGUST 2010]
I am greeted by an empty nest. Each and every painting I have invested so much love and attention to has gone. They are out there now, in the big bad world. Hanging on the wall at Blanch House.

I am left with a handful of half-finished canvases. The ones that I've neglected and ignored, the one's that I've fallen out of love with. A motley bunch they are too...

I dig out the "rock-face". I've been thinking about what to do with it over the past couple of days. A bold decision had to be made. Out comes the sandpaper, and I set to work sanding down the meandering pink neon line to a smooth, flat surface.

I paint the pink out with white acrylic and take three attempts to draw in a new path of least resistance.

The neon will still be pink, but the line will stagger more than before as it traces its way through the blackness.

I have made a small canvas for a new secret painting. I prime it and chuck a load of filthy, oily black water and ink and God-knows-what over it.

Now, brushes are the main tools-of-the-artist, and I don't look after them nearly as well as I should. They are in desperate need of a deep clean: a bowl of warm water with washing-up liquid and a bowl of clean water to rinse. I end up with a sore on my hand where I've been pressing the brushes to work the soap into them. Ow!

Exhibition press for I THINK OF YOU AND I SMILE

I've had a couple of features in the local press about my exhibition...

Following my interview the other day, The Argus have devoted half a page in today's edition

Meanwhile, The Source have given me a good write up: Mat Barker has compared my paintings to Jenny Holzer and Gerhard Richter, and I can't argue with that!

[apologies for the poor quality scans]

Julian Clary isn't here

[WEDNESDAY 04 AUGUST 2010]
It is already 10.25 and no painting has been done yet. The morning has been spent sending emails and reminders about my exhibition.

I was here on Monday afternoon, shirking payed work and painting. I was happy with what I left on Monday evening. I have a feeling one of the neon drips might need a little more werk, but aside from that I'm almost ready for Sunday. I don't think I've ever been this organised for an exhibition... It makes me feel a little uneasy.

It has just started tipping down with rain, which means my plan to move paintings in from the loft, and others out to the loft, has been scuppered. I also just realised I have black paint all over my hands, which is probably now on half the washing I've just brought in. Oops. I then got a phone call from someone asking to speak to Julian Clary. For some reason this doesn't surprise me...

12.51: I've just come off the phone from an interview with a girl called Nione (pronounced Neon - what are the chances?) from The Argus (turns out it was her wanting to speak with Mr. Clary) - they will be doing a feature on my exhibition in Saturday's edition.

I have signed all the finished paintings, and I've signed 'SMILE' too, each has been moved into the empty extension, photographed, and now awaits further orders.



I have moved all the paintings into the extension, and blocked off the doorway to avoid the cat rubbing against the wet paint. I will be back tomorrow evening to wrap them up ready for the big move on Friday.