Resurfacing...

It's been a long time! My apologies and thanks to all who have left comments over the last few posts, gone mostly unanswered, though not ignored - I have read and appreciated every one of them.

I thought this year would be a slow, relaxed stretch of time for sketching and painting, now that my son has finished school and no longer requires as much taxiing around and motherly ministrations (wrong about that too!), but it has spiralled into a maelstrom of activity. When I started this blog, it was partly to motivate myself to make art regularly - in that respect it has succeeded, and then some!

I mentioned some time ago that I registered for a year long course with artist and lecturer Greg Kerr. Four sessions of four days each, spread over the year with the surprise addition of plenty of homework in between. We're half way through that now, having just completed the second session.

The first entailed preparation of sourcing our own images through a programme that Greg and other university lecturers developed called 'The Dark Cloud', from which we made large charcoal triptychs.

Each panel is a full sheet - of Arches hot press 300gsm in my case - at the moment being displayed in the David Brown Gallery in Nelson Mandela Square in Sandton with eleven other student's work - a credit to Greg's teaching that all the work is so different, individual and good! It was chosen not on any merit system but merely those who had finished and submitted in time.

For homework we had to make 24 very small images from cropped sections from the source material photographs - I still have 6 to go (relieved to find we weren't in for detention or a rap on the knuckles for non-completion!)

These are on A6 sheets of Fabriano, with the images 120x85mm, and are meant to force the charcoal to be as photographic in nature as possible. When all are done, to be bound into a book form.

In the second session we took three of these tiny images and blew them up to large canvas size to make tonal studies in acrylic paint, with added interest of thin coloured edges - I left some areas of the canvas showing the coloured underpainting, with lots more thinking and work still to be done on them - very much work in progress.

I began the first full-tonal range panel on a big canvas - 1000x800mm but switched to smaller 550x750mm ones for the high and dark toned ones after I'd spent the first day filling in between the lines. Not sure where these are going yet, but I have no doubt there will be surprises in store the next time we get together in August for oil painting.

A big advantage of a course spread out like this over a period is that you learn to live with your work, think about and develop it, as well as the discipline of returning to it - to become a habit by the end of the course, instead of the workshop becoming a pleasant, but dim and distant memory - at least that is what I hope happens.

But wait, that's not all I've been doing! In between this was another short watercolour workshop that I'll write about soon, the Urban Sketcher's Symposium rushing up and needing attention - some preparation under my belt but lots more to do - a workshop that I've just given on sketchbooks and art journals, the lovely postcard exchange which deserves more time and effort... how did this all land up in the same year, I'm sure it could keep me going for five!