Waiting for the Waterfall

My Painting-in-Progress: Kilt Rock has been moved from my studio to Skyeworks Gallery for my Edges Exhibition. It’s still waiting for me to finish it and as the exhibition opening is tonight it won’t get the waterfall added in time never mind finished. But I thought some people might find it interesting to see a work-in-progress and I’m intrigued to see how people respond to it as it is right now (I consider it no more than two-thirds finished).

Edges Exhibition by Skye artist Marion Boddy-Evans at Skyeworks in Portree
My painting-in-progress Kilt Rock on the ‘working easel’ at Skyeworks.


Painting-in-Progress: Kilt Rock

I’ve been asked a few times whether the painting in my Edges Exhibition poster is of Kilt Rock. It’s not, it’s a detail from “Edge of Skye”, but it made me think it’s a subject that does belong with my edges theme, so I’ve started painting it. These four photos show my progress. Next step will be adding the waterfall. But it won’t be finished for Monday’s exhibition opening.

Painting Work in Progress: Kilt Rock


Monday Motivator: Layers of Time

Art motivational quoteWhile the existing natural forms remain the same… their appearance changes with the time of day, light, and atmospheric conditions. Similar to the way memory takes things separate in time and assembles them into a new entity.

“…the actual subject of the art is not an event proceeding in linear fashion but multifarious simultaneousness of layers of time.”

— Art historian Karin Sagner-Duchting writing about Monet in “Monet and Modernism”, page 46/7

The more familiar a location becomes, the more the variations, differences and similarities created by the seasons, weather, time of day reveal themselves, filtered through mood. My paintings are not of one moment in a location, but many; often not one location but several combined in memory into one place that feels familiar. I know where it is, but you probably see it at somewhere else.

The cliffs in my forthcoming Edges Exhibition, for instance, remind many of Kilt Rock. But to me it’s not as there’s no waterfall. That cliff painting is still a work-in-progress that might still get finished in time for next Monday’s 6pm exhibition opening.


Not Soft, Northern Light on My Easel

I’m sure you’ve heard how soft, northern light (or southern, if you’re on the other side of the equator) in your studio is critical. But it’s all too easily an excuse, another aspect of Never Moving Beyond Liking the Idea of Being Creative. Work around what light you’ve got; your paintings aren’t going to be hung in unchanging light anyway.

This photo shows sunlight blazing through the northwest-facing window near my easel (and sunlight isn’t as rare on Skye as many believe!). Yes, I could moderate it with a blind, but that would not only shut out the view over the sea, but upset studio cat who enjoys lying on the wide windowsill.

Art Studio in Skye Scotland

Monday Motivator: Replace Light with Colour

Monsieur P painting“Cezanne replaces light with colour. This shadow is a colour; this light, this half-tones are colours.

“…he substitutes contrasts of colours for contrasts of tone [untangling] the ‘confusions of sensations’.

“…The entire canvas is a tapestry where each colour plays separately and yet blends in resonance into the whole.”

— Maurice Denis, artist and writer, Theories (1907), quoted in Conversations with Cezanne, page 176/7

Painting’s Now Got a Title!

Edges: Rocky Shore painting by Marion Boddy-Evans
“Beachhead”. Size: 1×1 metre. Acrylic on Canvas.

The inspiration for titles for paintings comes from all sorts of places; sometimes a title even leads to a particular composition (such as “Lambic Pentameter”). In this instance, the comments on my abstracted painting inspired by a rocky shore about it looking like people and war led the in-house art critic to suggest the military term “Beachhead” as a title. Works for me on several levels, and thus this painting now has a title.


Monday Motivator: Just Trying to Paint

Monsieur P painting

Monsieur P paintingI believe in what the subject makes you do, yes, I do believe in a subject in the sense that it’s your starting point. And I suppose I am essentially a romantic. I believe in the sort of emotion that you get from what your eyes show you and what you feel about certain things. … I don’t really know what I’m painting. I’m just trying to paint!”
— Joan Eardley (1921-1963), BBC interview 1963

I’ve been looking a lot at the flower/field/landscape paintings by Scottish artist Joan Eardley. I like her abstraction, with enough realism to anchor it, giving viewers a path to connecting with and understanding a painting.

Edges Paintings: Rocky Shore

Sometimes an idea takes quite some time to make it into paint (and not every idea does). I’ve previously done a rocky shore as a pencil drawing and in charcoal, as well as an etching. This version doesn’t have a sea/sky horizon.

I started by creating a dark ground, using a chromatic black mixed with texture medium. Once this had dried, I “drew” with various colours of Golden’s High Flow Acrylics. Once this had dried, I painted the sea and ‘tops’ of the rocksy, again using very fluid paint. I’m now, once again, waiting for paint to dry, and will then access whether I’ll be doing anything else to it. Right now I think not, but looking in it in different light tomorrow will tell me.

Edges: Rocky Shore painting by Marion Boddy-Evans
Size: 1×1 metre.


Update on My Sheep Trio Painting

Here are a few details from the sheep painting I’ve been working on (see work-in-progress photos), as well as an overall photo. It’s now at the “don’t fiddle with it” stage, put to one side where I can see it but not to be touched unless I’m going to do something very specific. I particularly like the texture* on the sheep, which catches the light at certain angles.

Detail: Sheep Painting Texture

Detail: Distant Cliffs and Hill Painting

Detail: Flowers in Foreground of Sheep Painting
Detail from the left-hand corner of the foreground.
Size: 1x1m. Acrylic on Canvas.
Size: 1x1m. Acrylic on Canvas.

*The texture was created using Golden’s Light Molding Paste

Work-in-Progress: Sheep Trio

Work in Progress: Sheep Painting with Distant Cliffs
Work-in-Progress. Painting Size: 1x1m

These four photos show this painting-in-progress I was working on yesterday.

Photo 1: Though you can’t see it in the photo, the sheep in the foreground and the cliffs in the distance had been ‘sketched’ in with texture paste, which is why I had put down colour on the sky, hills, and sea only. This having now dried, I started by adding yellow to the foreground, knowing the blue under this would show through, shifting it towards green. I applied the yellow directly to the canvas, then used a brush dipped in clean water and then some glazing medium to spread it around.

Photo 2: Without cleaning the yellow from my brush, I picked up some blue from my palette and let this run down, creating green. I added dark (perylene green) for the sheeps’ heads and legs, and applied a little to the distant hill. Then I started adding white for the sheeps’ wool.

Photo 3: I’ve added more colour to both the foreground and the distant hills. Permanent rose mixed with the leftover blueish colour on my brush/palette, giving a range of pink-purples, suitable heather colour. Then another round of white added to the sheep.

Photo 4: I’ve applied more dark to the faces (running the brush along the texture of the horns), and greens to the background. This wasn’t tube green, but created by mixing quinacridone gold with leftovers on my palette. Now it needs to dry completely before another round, which I’m hoping will get me to the “is it finished yet?” stage.