Autumn
Some seasons are so humdrum and mundane that I question if I have progressed in any way other than the development of a couple of extra crows feet. Things are frozen in a way as a fearsome hangover from the chaos of the summer. September and October began in a predictable manner..staccato work schedule ensued as I tried to install some kind of system alongside children returning to school. Sometimes I think systems and organisation are a futile effort as I inevitably breakdown and return to my paint stained and unwashed paintbrush in hair mould
I got to have my first experience of a panel Q&A in Sheen Falls with Gormleys Gallery in early September while was not as intimidating as I had initially anticipated. The most interesting part was listening to the other artists responses. Being a painter in a day to day level can be very isolating and I love to hear how different artists approach their days and routines. It’s almost perverted how curious I am about other peoples routines especially artists. I am very envious of those that can enter a studio in the morning and leave at 6. Unfortunately my life is far from resembling this kind of utopian scenario with the demands of children. I am confident that eventually I will realise this reality for myself once kids have flown.
I managed to get away to London for Freize and that gave me a much needed blast of inspiration. I was completely enthralled for the most part by the standard in the main tent. I would have gravitated normally, to the Freize Masters tent for some refuge from the overwhelm of the young art edgelords in the main fray but I got to see the main tent during a lull and was so amazed by a few artists in particular most notably Sarah Ball at Stephen Friedman and Saskia Colwell at Victoria Miro. Sarah Ball uses coloured pencil in such a delicate way that mimics the palette of her oil paintings of mostly womens faces. I was so struck by her lucid vision and unique almost dreamlike weaving of perfect faces. It was like magic to look at up close. Like a fashion editorial without the crassness of being fashionable. I think I am very drawn to subtlety in art because it is so at odds with what I ultimately make. I aspire to it but can never faithfully commit to being subtle!
We stopped by Peter Doig’s exhibition in the pub he bought in Kings Cross. It is soon to be reimagined by the artist. I think he plans to install a gastronomic pub in the place of McGlynns with a studio and gallery across the road. We ventured through a precarious setup to find some really striking work by photographers and artists I had not heard of up until that point. The art was hung on beds scaffolding and in toilets. To see such a juxtaposition was jarring at first but I suppose that was the statement in itself.
At home I continue to work away on a large commission in between grafting for a larger collection. For somebody who struggles to unload a dishwasher without getting distracted it’s very important that I employ a degree of organisation or things fall apart half way through. This is why artists need time to stew with themselves before getting stuck in to bigger projects. The temptation personally is to thunder through because I get possessed by energy before I even have semblance of inspiration or ideas. It is an affliction that both helps and hinders….
Some periods are so humdrum and mundane that I question if I have progressed in any way other than the development of a couple of extra crows feet. Things are frozen in a way as a fearsome hangover from the chaos of the summer. September and October began in a predictable manner..staccato work schedule ensued as I tried to install some kind of system alongside children returning to school. Sometimes I think systems and organisation are a futile effort as I inevitably breakdown and return to my paint stained and unwashed paintbrush in hair mould.
Sheen Falls, Kenmare, Co.Kerry
I got to have my first experience of a panel Q&A in Sheen Falls with Gormleys Gallery in early September. The most engaging part for myself was listening to the other artists responses. Being a painter in a day to day level can be very isolating and I love to hear how different artists approach their days and routines. I am almost perverted about other peoples routines - especially artists. I am very envious of those that can enter a studio in the morning and leave at 6. Currently this is an inpracticable scenario for me with the demands of children but i hope to one day have this ability. It does feel closer as time goes by.
Sheen Falls, Co.Kerry
Regents Park in Autumn
Sarah Ball, Freize 2025
I managed to get away to London for Freize and that gave me a much needed inhale. I was completely captivated for the most part by the standard in the main tent. I would have gravitated to the Freize Masters tent for some refuge from the overwhelm of the young art provocateurs in the Freize London tent but I got to see it during a lull and was so amazed by a few artists in particular- most notably Sarah Ball at Stephen Friedman and Saskia Colwell at Victoria Miro. Sarah Ball uses coloured pencil in such a delicate way that mimics the palette of her oil paintings of mostly womens faces. I was so struck by her lucid vision and unique almost dreamlike weaving of perfect faces. It was like magic to look at up close. Like a fashion editorial without the crassness of being fashionable. Saskia Colwell similarly uses charcoal and charcoal powder on vellum to similar hazy effect. Her subject matters are provocative but beautiful in their rendering.
Sarah Ball, Stephen Freidman Gallery, Freize 2025
Sasha Colwell, Victoria Miro, Freize 2025
Peter Doig curated exhibition in McGlynns pub
Peter Doig curated exhibition in McGlynns pub
Peter Doig curated exhibition in McGlynns Pub
We stopped by Peter Doig’s exhibition in the pub he bought in Kings Cross. It is soon to be reimagined by the artist. I think he plans to install a gastronomic pub in the place of McGlynns with a studio and gallery across the road. We ventured through a precarious setup to find some really striking work by photographers and artists I had not heard of up until that point. The art was hung on beds scaffolding and in toilets. To see such a juxtaposition was jarring at first but I suppose that was the statement in itself.
Peter Doig curated exhibition in McGlynns pub
At home I continue to work away on a large commission in between grafting for a larger collection. For somebody who struggles to unload a dishwasher without getting distracted it’s very important that I employ a degree of organisation or things fall apart half way through. Most artists need time to stew with themselves and percolate ideas before getting stuck in to large undertakings. The temptation personally is to thunder through because I get possessed by energy before I even have semblance of inspiration or ideas. It is an affliction that both helps and hinders…tbc
Hello!
Turned a bigger age this month and discovered lighting becomes more important with age for painting endeavours and taking selfies of course! I’m sure bifocals will be the next thing on the cards but I very much appreciate the use of a fairly well lit studio space that I can truly destroy as only I can.
These last few weeks my painting has remained within the still life with organic elements oeuvre, but I am slowly bringing in more architectural suggestions and astronomical references for light sources.
Unfortunately I have a fascination with the esoteric, spiritual and cosmic ethers, much to the bemusement of my scientifically and conventionally educated peers and family. It is not so much about these perspectives representing a fact, but, I find the symbology of the ideologies very beautiful, imbued in mysticism, colour and light. Moreover, there is an overarching respect on my behalf of their endurance in people’s minds throughout history.
I am in love with the idea that there is a push and pull to the universe and an invisible force that guides things. Even the most sensible people can let themselves go to strange superstitions in desperation.
I am really taken with Ben Styer’s work at the moment that has a feeling of the inside of a little girl’s pencil case combined with quite mystifying pagan and religious symbolism within which you can get a bit lost. His paintings combine allegory and mythology in one instance.
I like the idea of alluding to a symbol only barely sometimes so that it may be at once seen or maybe overlooked only to be noticed at a later stage. I have always loved paintings that hold mystery that can unfold over time, like maybe when you see a movie for the second or third time and notice a completely different narrative or slant.