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| Life is what you make it... Look at the bird, now tilt your head to 2 o'clock and now it is a mammoth Life is all about perspective Acrylic On Canvas (c) Kate Lomax 2007 All Rights Reserved |
How do you paint? Sitting at your easel? Or like me do you prefer to stand. I unconsciously mimic Lord Nelson, I hold the paintbrush with my right hand, and either hold the paint with my left or, more likely, tuck it behind me, either resting palm upturned on my upper hip, or tuck it in my back pocket. One foot is flat on the floor, one is resting on the edge of my easel base, steadying it as I thud and dab away with my brush.
The diagnosis in December of an aggressive arthritis attacking primarily my knees has left me unable to stand for long periods at my beloved easel. I tried sitting - sigh - okay, I can manage, but it is more a dutiful paint than passionate, and I SOooo like to paint passionately, with unbridled gusto, in the same way I enjoy a good meal. I see the actual process and stance we take whilst engaging in the art as a creative form within itself. So here I was. Creatively challenged - perish the thought. I decided to engage in a spot of baking while I explored my dilemma. The osteoarthritis has is also attacking my wrists and hands, so using floppy silicone cake 'tins' the hour long baking sabbatical turned into an absolute nightmare, lol, so back to the easel.
I could either sit and do some detail work on my long running canvas, a detailed study of Penelope of Odyssey fame, or draw, or doodle some watercolours or er, not as the case may be. I gawked at my vacant easel through the french windows, moping, pining. Then I got a grip, gave myself a good telling off and busied myself with the detail work.
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| Penelope - Detail Work In Progress Oil On Canvas (c) Kate Lomax 2010 All Rights Reserved Penelope is my take on The Odyssey/Penelopiad - several eyeballs short of completion.. |
I am somewhat jubilant however that I have been able to stand at my easel for managed spurts, and am gradually learning the art of patience and restraint. whilst adjusting my grip to accommodate the rather annoying Herbeden's nodes on my fingers. on the positive side of the coin, they could come in awfully useful for blending the paint on the canvas instead of wearing away my fingertips....
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| Antoinette's Attic - Standing Work In Progress it is a little further on now ... don't want to spoil the surprise ;-) Oil On Canvas An interpretation of Antoinette's Plight. Wide Sargasso Sea / Jane Eyre (c) Kate Lomax 2010 All Rights Reserved |
We all develop our style, not only in the finished works, but in the production of our artwork. I love to stand. I love to paint with my fingers. I use my nails to scratch out twiggy bits on trees or fine facial details. I have a drawer in one of my equipment chests labelled mark makers. In here you will find an assortment of objects rescued from the bin, beach, supermarket packaging bin, make up bag ... they all make their own unique mark, just as we as individuals do.
Now and then, I meet people who eliminate themselves from physical art forms by building a suppressive box of rules and placing themselves in it.
'I can't paint, I cant draw, I have no sense of perspective, I don't do colour well, I need training, I am too old to learn to paint', are all perfectly valid reasons that individuals cite to justify their decision not to paint. Valid to the individual concerned that is. ....
Now and then, I meet people who eliminate themselves from physical art forms by building a suppressive box of rules and placing themselves in it.
'I can't paint, I cant draw, I have no sense of perspective, I don't do colour well, I need training, I am too old to learn to paint', are all perfectly valid reasons that individuals cite to justify their decision not to paint. Valid to the individual concerned that is. ....
Can you imagine what the creative Neanderthal went through? While his cavemen mates were chasing a dinosaur for dinner, he was having to justify wanting to doodle on the wall with some charcoal from the fire. A very brave man indeed who no doubt suppressed his passion for a very long time before he chose to be driven by it!
Many years ago, in the early 90's, I had a dream which resulted in a trip to a little village, Selbourne, just outside of Alton. Selbourne is a little known treasure trove of a place with many jewels to be discovered which I won't spoil by listing them here - Oh I know! I am so darn mean - but you know, adventures of discovery are a fantastic way to spend a Sunday afternoon, and who am I to steal the discovery bit away from you!
The Selbourne Gallery is just across the road from Gilbert White's House - be sure to visit both! You can sit in Gilbert's garden with your sketchpad - very inspirational!
The Selbourne Gallery is just across the road from Gilbert White's House - be sure to visit both! You can sit in Gilbert's garden with your sketchpad - very inspirational!
What helped me to change my then excuse laden attitude to my art was stumbling across the gallery founded by Tom Yendell. I had long been a chrimble card and calendar supporter of MFPA
and had mentally noted Tom Yendell for his fabulous
use of colour.
I had no idea of the existence of a gallery at Selbourne, let alone one supported by the MFPA. I was fortunate enough to meet Tom that day. It changed my attitude to painting totally. Apart from being a fantastic guy with an enormous personality, Tom's paintings are legendary. Tom paints with his mouth and feet. I don't mind admitting I envy his skill enormously.
He is such an incredible painter!
and had mentally noted Tom Yendell for his fabulous
use of colour.
I had no idea of the existence of a gallery at Selbourne, let alone one supported by the MFPA. I was fortunate enough to meet Tom that day. It changed my attitude to painting totally. Apart from being a fantastic guy with an enormous personality, Tom's paintings are legendary. Tom paints with his mouth and feet. I don't mind admitting I envy his skill enormously.
He is such an incredible painter!
My point being, that if you want to paint, you will paint. The desire to create will overcome the obstacles and your reward will be a step ladder to escape from the box of excuses you made.
When I began studying literature three years ago, a cherished associate challenged me that my chosen subject matter would take me further away from my art. When I tried to explain that my thought was actually to get closer to my art by way of inspiration via literature, he advised me to be sure to paint every day, it is the only way.
He was, and is of course right. You must, even if you only draw a scribbly sketch,
every day express. Expression then becomes so natural and will extend into other areas of your life.
You will become better at expressing yourself not only visually, but also verbally, communicating your visions, your ideas, and most importantly, your style with relative ease.
He was, and is of course right. You must, even if you only draw a scribbly sketch,
every day express. Expression then becomes so natural and will extend into other areas of your life.
You will become better at expressing yourself not only visually, but also verbally, communicating your visions, your ideas, and most importantly, your style with relative ease.
Continuum of style is something you will settle with or not. I am a definitely a not. I need my working days to be varied and challenging and my works reflect my nature. If I was to stick to my favourites I would be painting Seascapes or Fur 'n' Feathers, day in day out, and loving it. However, I work best under pressure. My best performances have been at a moments notice, my best works commissioned one week before they are needed. That is my working style. My natural painterly style is somewhere between abstraction and surrealism. An artist's style is eventually defined by what sells. What is popular. For example, mention Monet and I can almost guarantee that an image of water-lilies will jump into your head, mention Van Gogh and his name will induce most likely a sunflower or a dining chair. What about the rest of their works? Did you ever bother to look?
The truth is, most artists will try a variety of styles, painting how their mood or a forthcoming exhibition dictates. The style defining moment is when a major sale occurs. Up until that point, the artist is likely to have experimented with many styles and genres, finding hopefully creating a niche they can call their own.
Popular artists such as Beryl Cook (1926 - 2008) are instantly recognisable by their signature styles.
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| Beryl Cook |
Popular artists such as Beryl Cook (1926 - 2008) are instantly recognisable by their signature styles.
"I don't know how my pictures happen, they just do. They exist, but for the life of me I can't explain them"
Beryl's explanation of her work is probably the most honest explanation of style that I could have cited here. It is a truth universal to many artists.
Popular belief would have us believe that most artists start with a plan. Not quite true. Placing on the easel a blank canvas with maybe a loose idea of what they are going to express is probably about as complex a plan as you can expect. Most could at a push define their subject matter. The exception being figurative artists, who mostly do map out their work most diligently.
For me, I adore challenges. I love spontaneity. I love improvisation. I adore searching my inner being for answers, to me being forced to be resourceful is joy! I excel in such situations. As an artist, that is my strength.
Find your strength. Search your soul for your trigger, it will quash every excuse not to paint you ever thought of. When you have found the trigger find a quiet corner and a pencil or brush, and be quite smug in the knowledge that here lies your fodder. Now you have found it you will never hunger again. Happy Easter!
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| the cakey, freshly slid out of the silicone 'tin'. |
