When working on a large painting, I always begin the bare bones in yellow. Though I generally paint in many layers, the yellow marks can still be seen and show how the painting has changed over time, as invariably it does.
Wednesday, 24 February 2021
Wednesday, 17 February 2021
Kung Hei Fat Choy! I used to live near Chinatown in Toronto and always enjoyed the celebratory atmosphere in the darkness of winter, late Jan or early Feb. When we moved to Ireland we decided to appropriate the celebration of the lunar new year, certainly because evenings are still dark at this time of year, but also because we like having an excuse to celebrate with good food and learn something about another culture. We decorate the house, and adhere to certain rituals of cleaning and luck. I blogged here about the celebration we had with my Mum in 2016, before her death a few months later.
Wednesday, 10 February 2021
When I first moved to Ireland in the late 1980s, I lived with my parents in their house in the centre of Bray. My room for two years was the middle upstairs room and, unbelievably when I think of it now, it was also my studio. All of the work created for my first solo show in 1989 was drawn and/or painted on the floor between my bed and the fireplace! Sometimes, for very large pieces, I was allowed to take over the house's front room and work on the floor there. In 1989, after my exhibition, I wanted to work very large on an idea inspired by a dream. Sea of Roses, approx 140 cm square, oilstick, 1989.
Wednesday, 3 February 2021
As I mentioned in a previous post, my studio had descended into total chaos in the run-up to the holiday season, so I spent most of this month tidying, putting things away and reorganising my supplies. I had put up this pressed cloth, at least six months ago, earmarked for a new painting in my current series, Memory Is My Homeland, with the intention of painting my thoughts on the second house I lived at in Kerry in the mid-1990s, Knockeen.