Green is my nemesis
I have never been comfortable working with green and always avoid it in a composition; as green is my nemesis
For the best part of this year, the Letting Go series of work was my focus. I started with a palette of yellow, black greys and blue with text being an integral part. However, the palette changed throughout the year leaning more towards blues; a colour I am very comfortable with.
Even so, what happens every year since having my studio at Shakspeare Gallery is MAY… May and early June from my studio window which overlooks Cocklemoor is nothing but vivid green and yellow, invading my space and will not be ignored.
Green is my nemesis
Not for the first time during this period, my palette becomes saturated with this vivid green and overtaking it. I have always struggled with green and find it a very difficult colour to deal with. It will not behave like other colours, constantly changing with the light and is difficult to blend. Just when I think I have it, the light changes and I can see that I don’t.
Nevertheless, once again the greens just took over for the period, well I say period – I was still grappling with this mini-series within a series well on into July and beyond. Green…. What I learned was that light has a huge effect on how you see it. I could leave the studio feeling at last! I have it, satisfied with the piece only to return in the morning in a different light and hate everything about it; and vs a v. This happened many, many times.
as seen at the RWA
Mini-series within a series
Finally I did manage to produce three larger works and three small pieces all of which I am now very pleased with. One of which is on show at the RWA (Royal West of England Academy) They are a series within a series in that they grounded me throughout that period. Letting Go was mostly in the sky but these where terrain based and focussed me onto a colour. Green has always been my nemesis I have never felt at ease with it; though I am now hoping I have learned enough about it to be more comfortable with it in future
the three small ones
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- ‘coming into land iii’ oil on panel 9″ x 11″
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- ‘coming into land ii’ oil on panel 9″ x 11″
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- ‘coming into land i’ 9″ x 11″ oil on board
‘out there on Cocklemoor in May’ oil on panel 30″ x 30″
‘coming into land on Cocklemoor’ oil on panel 28″ x 28″
‘the colours of Cocklemoor in May’ oil on panel 24″ x 20″ hung in the RWA
the other thing I found is that photographing them is a nightmare. the above photo images do not do them justice but are the best I could do
30/11/2017 at 11:19 pm
I love your work. It always puts me in a mood of peace and calm. I find your mark making very interesting and intriguing. As an artist myself I totally agree with the photographing of art work. It is truly an art unto itself. I am never able to really capture the colors, depth and beauty of the composition and have found that every time I admire some else’s work in a photograph it is because it was professional photographed. Knowing how to property light the subject is crucial. I have the lights and play around with them but never quite succeed the way I would like to see the work shown. The costs where I live to have them done professional are high and then there is framing…all adds to the price. I must admit there are many times that I do have them professional photographed and then are very happy with the outcome.
01/12/2017 at 11:57 am
Hello Edith, nice to hear from you. I have tried several professional photographers in the past but have never really found one that gets it just right. Generally I use daylight but it has to be just right, however with the greens I think it just eats up the light and I cannot get the depth of a piece. I keep trying though
best wishes ashae