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Re collection and Recollections with some Reflections. Unless people sign the Visitors’ Book there is no way of knowing how many attend exhibitions such as mine – which has just ended. Of course The Plough Arts Centre, being a charity with free admission and staffed mainly by volunteers, has no way of recording visitor numbers. So from my point of view it’s a great shame if people visit and don’t record the fact because that’s the only way I can judge success or otherwise. We never expected to sell much - I was under no illusion that these paintings were commercial, and so I’m extraordinarily grateful for any sales which did accrue.

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            That these works were not commercial will surprise no-one who knows them and me. They were not exhibited as a business venture but as a genuine attempt to reflect my view (and only my view) of the glories of the modern(ish) self-made woman, and the visual impact of their efforts as presented to other women and of course the humble male. This much is pretty obvious to any reflective person, and I always hope that the reflective person who is also appreciative of painting will see beyond the surface and notice much else besides, as indeed Isabella said in The Book. [I’ll reproduce all comments later.]

            I’ve always maintained that the subject matter of a figurative painting is mainly a hook on which to hang the painting (verb & noun). I used to think this was obvious, but have come to know better and realise that most people only glance at a painting, deciding instantly whether they like the ‘thing’ depicted. If not, they move swiftly on without a second thought. (Please click 'Read more' below)

Workshop: a small and very exclusive group of four spent an enjoyable day at The Plough last week engaged in a Workshop regarding the semi-clothed human figure.

We tried to explore in a language of pure paint the human form - which we intrinsically of course know so well.  A fantastically difficult thing to do, and all those present tackled it with great aplomb.

My thanks to the model Shan and everyone who made the day so fascinating (and challenging) for me too.   I've received three nice comments so far and include them below. With their permission I will at some future date show the results of their work.  I hope Dee, from whom I haven't yet heard, also enjoyed the day as much as everyone else seemed to.

 

Dear Richard,

I loved the workshop thank you for the photos and all your hard work yesterday,

best wishes lynne


 

Hi Richard
Thank you very much for the email, and mostly for the wonderfully inspirational day on Friday. I loved every minute of it and would certainly love to do another course whenever you have one.

I don't know how the watermixable oils will survive the linseed paste, but it will be interesting. I shall certainly try the method again and order some paste.

I hope you manage to do as much painting as you wish and look forward to seeing you and your art again.best regards
Elisabeth


 

Dear Richard,

Many thanks for forwarding the photographs.

I very much enjoyed the work shop on friday and it was good to be pushed into trying completely different ways of painting. Am definitely going to try to work more loosely and try and get the paint strokes to do the talking!

With regards,

Alisha


 

 

A few views of the exhibition also showing Paul Jackson's ceramics

 

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This article was written for Global Art Directory: Artists Info http://www.artistsinfo.co.uk/

Who are all the art collectors, and where are they? Any ‘blockbuster’ exhibition you care to visit in any major city anywhere in the world involves pre-booking and / or queues. Such is their popularity, and there’s something I like about a crowded gallery - about being with like-minded people. My most memorable recent one was the Titian in London. Being quite tall it’s not so bad for me but even so you have to manipulate your way in front of a painting and then try to disassociate yourself from the maelstrom all around you. What does this tell us?

Preview at The Plough

Here is a photo I took of Paul and Mij as we were waiting for the first folk to come.

 

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There's no doubt in my mind that my old friend Paul's lovely pots are the stars of the show.

Many thanks to all those who managed to come.  I think it was a good evening and I hope you had a pleasant time.  Those of you who were not able to make it were sadly missed.  My thanks as always to Mij for her continued support of a lost cause and also to Pippa, who never fails to organise stupendously well.  Above all, I hope The Plough can benefit from this exhibition and earn a few pennies to further their cause.

Gore blimey. There was a film about Frederick Gore last night at my wonderful local Arts Centre, The Plough. It was one of three shown and introduced by film-maker Daniel Whistler; all very different in style. It was the Gore film that had attracted me of course, and I was intrigued to know how his work stood up against his more famous father, Spencer.

My early mentor, Henry Israel, once summed up a painting of mine with customary understatement , “Well, it’s certainly an eyeful.” I took this as veiled and not unreasonable criticism, and I don’t think Henry meant it as a compliment. But blimey, if Henry thought my still life of oranges and bananas and I can’t remember what in a wicker work basket was an image to hurt the retina, I can’t imagine what he would have thought of some of Frederick’s.

My work is sometimes called “colourful” – I’d never use that word, preferring ‘vibrant’.  Surely you can’t just suffuse a painting with gaudy colour and hope it does the trick? Some of Gore’s violets and purples offended my eye –a shadow with the same value as a field of lavender, stark red and green contrasts. His work was far closer to the Fauves than the Post-impressionists. Think Roderick O’Conor perhaps. I much preferred his buildings even though some the beautiful pastel shades you get on old Provencal walls were gaudied up too much for me.