Bath View from the putting Green, below Sion Hill

SOLD
Later November view from the putting Green, below Sion Hill. Done in two quick sessions. Each time, soon after I sat down it began to rain, and a windy squall hit on the second sitting although both days had been 'Beautifully Sunny'  till I started work there. (I think I can control the weather now. I just paint .... and it rains).
This was finished as the light faded so I put a bit of yellow glow in some windows as the lights were beginning to come on.
It's a small commission for a friend who needs it for a present. The view had caught my eye in the summer when the light in the mornings reflected in bright patches off some of the distant roofs  - very lovely and most 'Evocative of Bath'. But I only managed to get there in the afternoons and although there was a short splash of sunlight at the first sitting which cast interesting shadows and spot-lit the chimney tops etc., generally it was a pretty dull light. However I quite like this result with an Evening feel.
Oil on board *"8" x 5"

Mind Labyrinth

100x70;
Oil and Golden leaf/Canvas;

We humans tend to spin around in the overwhelming network of our mental world, and most of the time we end up in the same spot where we started. It seems like our mind labyrinth is full of dead-ends: we feel like we have too much, and still, something's missing. But the symbols that come in our way represent solutions for the best exits we can choose. Look for them and you will learn the truth and the beauty of life. And you will find new ways to live it completely.

Evening skies with jet trails over the village of Market Lavington

These eight paintings were done "en plein air", sitting in the tailgate of my car, at the end of May into June 2011 (posted some then). Some were done on consecutive days within about two weeks, when we had  a beautiful period of calm warm weather with still evening skies. Practically there were always jet trails hanging motionless, or being drawn across the sky as I watched. Sizes are 8" x 5" in the main thought the first three were of slightly different height sizes, using offcuts, till I realised suddenly that I should standardise sizes and create a series.
Now I'm trying to decide how to display them, in groups of three, or four or singley. I quite like the set of three or four as it gives rise to the idea of 'time passing', and possibly 'film', that almost old fashion medium (with sprocket holes), much superceded by video format.

 One has to work very fast  to get the paint down as the sky is changing swiftly all the time. So these probably took half an hour on average . It is really difficult to be sure as I always forget to check the time. Sometimes I'd get there and wait a bit  to summon the energy; sitting, contemplating  till it  felt 'right' to start (better late then never), sometimes weary(or lazy) and mesmerised by  the splendour and drama of it all. Then urge myself into action working, against the clock to beat the fading light, till I can't see the colours I'm mixing - it can feel rather futile trying to attempt this.(once or twice I didn't even get going)

  Often I'll  listen to music a walkman, Bach piano sonatas/partitas are good, they seem to stop out other thoughts and interruptions, helping  the mind (and paint) to flow -  the melody lines interweaving, stir feelings and energy, somehow relating to interweaving evolving cloud patterns.

Bach Partita no2

Tumult

30x40;
oil and silver leaf on canvas.

Life on planet Earth is a continuous battle with the others and with our own egos. So we need the best weapons to survive: realism and dreams, lucidity and fairies, darkness and light. And sometimes, when one reality bites, we need to close our eyes and be able to see a different one. This is what my painting is about.

View towards Blackfriars Bridge

One of two paintings of this view, this being the first one, 27th June. I had found a platform directly under Waterloo Bridge where pigeons nest and skateboarders sometimes practice tight maneouvers. It was pretty quiet so I set up easel and did this in one sitting (or should I say 'standing'!). The annoying wind was coming up the Thames from the east  in gusts  of about 30-40 mph so was is a matter of stamina to stand and paint, for a couple of hours, with one hand steadying the easel. I tend to zoom in with my composition sometimes but Think it  would be preferable to have had a wider viewpoint in this case.  I'd like to do a bit more consolidating,  a couple of details, perhaps.

Sigillum Angel - Gold Leaf Painting


Oil and Gold Leaf on Canvas

St Mary le Strand, London WC2

Just had to do a touch more - a hint of detail on the white buildings left of church. tail lights and wheels on the vehicles (the nearest was a sports car), the steeple is more defined with sky showing through bits of architecture. I hope Valerie will accept the changes in good grace:-) (See her comment below in the last post below) ... and I hope I've not ruined it.
Oh(!) and congratulations Val on getting your set of 6 paintings in the Bath Prize Exhibition, and one on their promotional brocure. Great achievement and I'm very pleased for you.
Note: Valerie received a 'Highly Commended' certificate on one of her paintings.


J. S. Bach - Kantate BWV 36 - Schwingt freudig euch empor - 7 - Aria (J. S. Bach-Stiftung)
Beautifully sung by Nurai Rial

ST MARY Le STRAND, from the East (London)

Earlier version

This is a weeny painting (8" x 5" on panel) of  St Mary Le Strand which I did on a day in the capital a month ago, trying out a new mini Pochade box and I was determined to grab a bit of painting time that day. It was  a beautiful morning to start, with a food fair and loads of people enjoying along the South Bank. But 2hrs later, as is often the case in the UK, it clouded over as I prepared to paint, and a fine drizzle set in after a while so I had to stop (not having an umbrella to hand),  and I was running short of time but would like to have done a bit more. Now I quite like this loose unfinished look,  in contrast to the much larger 'Bath Guildhall' I just painted. I think that crane rig is hovering above the back of Somerset House, and the whiter patch left of the church is sunlight on the facades of the tall buildings along the Strand (where many of the buses are going). I have always been intending to do some finishing so maybe I should add a few more touches of paint to define this area.
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