December (2021) selfies & goodbye studio!

 It seems so long ago now, but it was just last month that I finished my studio residency at Signal Arts Centre. (Do a search on this blog for other work done, both this year and previous years, during this residency.) As was my daily practice while at Signal, I did self-portrait sketches as a warm-up exercise. Though by the beginning of December I had already brought most supplies home, I made sure to keep my cookie tin of materials for the selfie sketches. For this one I used a soft charcoal pencil.

When working with watercolour for selfie sketches, I like to limit myself to three colours, blocking in the colour first and then using a watercolour pencil to define a few lines.

After drawing in the basics of my face with watercolour pencil for this sketch, I decided to highlight my festive earrings. I have different daily festive earrings to wear in the month of December!

I got into the habit of doing a blind contour drawing every Friday while in the Signal studio, so this was my very last selfie sketch of 2021.

After packing the last few things to bring home and a quick tidy up, I turned to the studio for one last look before closing and locking the door. I left the table coverings for the next resident.

November selfies (2021)

Happy New Year! Before I start with this year, however, I have to catch up on the last couple of months of 2021! As per the past few years, I had a studio residency at Signal Arts Centre for 10 weeks, in Oct, Nov and Dec. One of my self-appointed daily tasks was to do a warm-up self-portrait sketch everyday that I was in the studio. I blogged about the October selfies here. For other information on the residencies for the past few years, a search on this blog for Signal Arts Centre should turn up loads of information and pictures.

This is a soft pencil sketch.

Limiting myself to a few watercolours and one brush, I can work very quickly blocking in an image. I like to put in some drawing over the watercolour to add some definition. In this sketch I used a watercolour pencil for the line work.

I got into the habit of doing a blind contour drawing on Fridays. For this sketch I used a brown felt tip marker. When else will I ever use BROWN!?

I had my folder full of different paper scraps at the studio and some glue, so I decided one day to do a selfie collage.

Back to a limited water colour use but this time using a fine tip black marker pen to do some line work.

Lots to choose from in my cookie tin of materials, so this day I decided on a soft charcoal pencil.

This entire sketch is drawn with watercolour pencils but mostly I used them as dry colouring pencils. I wetted the tip of a purple one to draw in a few defining lines.

Signal Arts Centre - October selfies!

Each morning at Signal studio, I start the day with a self-portrait in a dedicated sketchbook. The medium that I decide to use in my sketch entirely depends on my mood that particular day. I enjoy doing this daily exercise as a warm-up and have a variety of media from which to choose. I am surprised that I didn't blog more about my daily self-portraits while at Signal studio in previous years, but I dedicated a post to them in 2017 and two posts in 2020 (here & here). Last week I included a selfie in my post about starting this year's residency, here. For posts about this residency in previous years (since 2017) just do a search for Signal Arts Centre within this blog.

Generally I do a fairly straightforward selfie, but this day I must have felt like the hand was a "sigh" gesture and included it! I think the sketch was done with a 6B pencil.

On this day, I limited myself to three colours from the cake watercolour tray and used a fine black pen for the drawing.

When I do a selfie exercise, I tend not to correct mistakes or labour over the drawing, so what happens happens. In this one, drawn with a soft charcoal pencil, I did not observe the correct distance from my bottom lip and ended up showing myself as having a weaker chin than I do. But really it is a little disconcerting that my staring eyes give me the grim look of Myra Hindley...

I enjoy using watercolour pencils for a sketch, dipping the pencil directly into water, leaving it dry or using a wet brush to spread the colour a bit. 

By limiting my watercolour palette I can block in an image quickly and then define it afterwards with a fine pen.

A soft pencil is always nice to sketch with.

And sometimes using a soft pencil compels me to work a little longer on the sketch. I remember that day I was wearing my NASA t-shirt, so that the end result of me feeling like a crew member of the Enterprise was no suprise. Could I be Captain?

Anonymous Archive part 1 of 2

 A few weeks ago I was the recipient of a hit and run dump: the doorbell rang and no one was there but a large, filthy cardboard folder full of really old pieces of artwork had been left at the door. About a third of it was mine, and I knew an estranged sibling was doing a deep clean of their attic.

So, from the "anonymous archive" this is a very early - from grade 11 in high school, 1977 - oil pastel. I actually remember doing it; I was working from a rectangular landscape picture and decided to draw it in a circle, making everything curvy.

I think I must have liked using oil pastels (now I prefer materials more extreme - either chalk pastels or oilsticks - which are on opposite sides of the spectrum). I think this oil pastel still life is from grade 12, late 1977 or early 1978.

When I was in grade 12 I received a scholarship to the Art Gallery of Ontario's Gallery School, which meant I had unlimited access to the gallery, and art classes on Saturday mornings. I was totally thrilled with the arrangement. The artist/teachers divided the classes into rotating groups to do life drawing, plaster mould-making (around clay sculpture) and printmaking. The printmaking module consisted of an introduction to lithography using paper plates rather than stone. I don't know what inspired this preparation sketch, perhaps my ideal landscape?

I was really surprised to see this print again, I had completely forgotten about it - I remembered learning about the principles of lithography and I remembered using a paper plate rather than stone, but I did not remember the image at all. Printmaking was my last module at the Gallery School, so it would have been created during the spring of 1978.

I started art school in September 1978 at Central Technical School's 3-Year Special Adult Art Programme, which was a free post-secondary art programme run out of a high school (though in a separate art building) by the Toronto Board of Education. The programme had a long history as it was founded to train returning veterans of WW1 into commercial art. The programme had a very good reputation for training would-be artists in both commercial and fine art as well as craft, with extensive facilities for sculpture, illustration, ceramics, photography, printmaking, life drawing, etc. In my first year I loved having both life drawing and life painting classes (3 hours each weekly). I still remember this model, Fred, was always very stately when clothed, and totally professional when not. This drawing and watercolour would have been done in early 1978 as we didn't actually "paint" in life painting during the first part of the school year.

Art studio drop in!

At the end of last year I found out that Dún Laoghaire-Rathdown Arts Office ran an adult art studio drop-in at the fantastic Lexicon (art gallery, library, lecture & workshop space) in Dún Laoghaire. The drop in is every Friday between 11 am and 1 pm, and while facilitated by an artist (one whom I admire, as it turns out - Emma Finucane) artists of all abilities are welcome at the drop-in to avail of as much or as little assistance as required. Since my own studio space won't be up and running for at least another month, I resolved that I would make use of this opportunity for workspace.

As a newbie at the studio drop-in, I wanted to check out what materials were available. There were lovely drawing pencils of all sorts and some good drawing sketch pads. I had brought one of my sketchbooks with me, to work from, and chose some 5B pencils and a few sheets of the toothy drawing paper.

Once I had warmed into my drawing, I decided a quick watercolour of persimmons was in order.

 Although I liked the large soft brushes provided, I resolved to bring my own brushes the following week and planned to do some acrylic sketches.

It had been a rainy, cold morning as I took the train into Dún Laoghaire, so it was appropriate that I dream of the sunny days in Antibes and choose Fort Carré as my subject to focus on.

Grey Box Archive 3 - Dreams

I thought I would post some more pix from the so-called Grey Box Archive -- the box of small scale drawings & sketches that I re-discovered a few months ago. All the work in the box I had completely forgotten about, or if I had remembered any of it I thought I had destroyed ages ago. The following sketches are all based on dreams, all of which I remember having while in Ireland, except perhaps the last one, based on several dreams I had in Toronto in the summer of 1983.

Sketches above and below are from the same dream, about the house I grew up in Toronto. I remember having this dream while visiting my parents in Ireland during the summer of 1984.

I remember this being a very bright and chaotic dream -- moons and pink balloons seemed to be having an attic party, I came upon the party via a trap door in the floor (apparent on the left middle side of the drawing). This was another dream I had during that summer visit to Ireland in 1984.

Another moon dream, with a temple and journey to boot. Who knows. I think this was from either the 1984 holiday in Ireland or a later visit to my parents in 1987.

I know I did the next two dream collages while in Ireland, possible when I had moved over in 1988. 

The plane crash on the island did not refer to the Lockerbie disaster, though that event might have prevented me from sending this in the post as it was around that time.

In 1983 I had a series of dreams about dolphins, one of which was a group of dolphins leaping in turbulent waters. I then had a dream where figures were bouncing, foetally, in turbulent waters as an exact echo to the dolphin dream. I used these images of dolphins and foetal figures in water for many years in paintings and drawings. I started using the separated raining clouds after viewing clouds like this over the sea in Ireland in the late 80s and continued with that imagery (as gold rain) in many paintings and drawings between 1988 and 1992.

Happy New Year!

Happy New Year! And Happy Nollaig na mBan - it's "Women's Christmas" today in Ireland. This is a tradition mostly celebrated in the West and rural areas but as I lived in rural Kerry for 3 years, I always celebrate it as an anti-xmas -- we have a "Merry un-Christmas" today as the decorations will be taken down. Nollaig na mBan usually is celebrated with women having get-togethers to make up for spending so much time in the kitchen during the holiday season.

In the Dublin art world though, the new year means only one thing: Turner's watercolours are on display again, Hurray!

The Vaughan Bequest, 31 beautiful watercolours spanning JMW Turner's lengthy career, were given to the National Gallery of Ireland in 1900 with 2 stipulations: they would only be displayed in January in order to prevent light damage and that the public would never pay admission. The watercolours arrived in Dublin in a bespoke cabinet that the framed pictures slid in and out of like drawers. This picture shows what the framed pix look like on the walls.

I like didactics that give extra information. This didactic is for the two waterolours above.

The next three pictures are from the Vaughan Bequest and on display in the exhibition. They are most certainly better photos of the paintings than my in situ pictures!

Below Arvier, looking down at the Val D'Aosta towards Mont Emilius, 1836, JMW Turner (Photo NGI)

JMW Turner (Photo NGI) 

San Pietro di Castello at Sunrise, c.1840, JMW Turner (Photo NGI)

Grey Box Archive 2

 I mentioned a few posts ago that I discovered a box of drawings and sketches while looking for some paperwork. So I thought I would post a few more. The pencil sketch below is from the early 1980s, of the basement bar at the house where I grew up in Toronto. My parents returned to Ireland in 1983, so I was probably getting maudlin or nervous about the impending doom!

The wind is absolutely howling outside my window so this charcoal sketch seems appropriate. It is of the Irish Sea on a stormy day in either 1989 or 1990 when I had my earlier (second bout?) of living in this country.

In the summer of 1990 I returned to Toronto, and participated in a group show "Me & 9 Others" at the Orient Building at Queen & Bathurst. This is a sketch of the piece I later put together as part of an installation. It is an elongated house on a trellis. My Dad helped me build the house and the trellis (which in the final piece I painted yellow). In the final piece, you could peer in the window to see a figure surrounded by floating stars (made of fimo) and I wove live roses into the trellis, rather than scattering them; over the course of the exhibition they wilted and dried. Behind the sculpture was a large piece of paper, half left blank and the other half with an oilstick drawing of two waterspouts over a stormy sea. This piece is not documented very well -- I have a couple of polaroid details (somewhere...), The sculptural element was bought by poet Janette Platana, but that was 25 years ago, so I don't know if she still has it!

 This watercolour is from 1990 and was created in Ireland, but I don't remember exactly where -- Bray or Howth perhaps?

Grey Box Archive

I was looking for some specific old paperwork last month, and I thought it was in a particular grey file box below the shelves in the stairwell. To my utter surprise the box did not contain the expected paperwork, but instead it was an archive of sketches and small works from the 1980s! 

In 1983 I was experimenting with encaustic and collage and this small piece on board was the starting point for a series of works on paper using cutouts of hands to explore gestures.

During the early 1980s I first started my practice of recording my dreams through both writing and image.

Though I don't remember the specifics of this or the above dream, I know they were dreams that I had while on holiday in Ireland in 1984.

In this sketch I was trying to simplify dream imagery of my home and a ladder that kept appearing in dreams. The home image was apt as my parents had sold the house in Toronto and returned to Ireland.

While on that holiday in Ireland I also did a fair few self-portraits in different styles and different media. This is pen and marker in my sketchbook.

The dressing table in the room where I was staying had a large mirror which accommodated my self-portraiture! This picture is limited watercolour and ink.