Train stations for Artchain

And here is the second of five days of posting images of work for#artchain . This is a small selection of my London train station paintings – Farringdon is up first, then Kings Cross, and the last three are of my favourite, London Bridge.
I’m not sure I’ll get all five days done by the end of the week – I’m running a bit behind schedule as it’s now Thursday evening and I should have posted four days worth of images by now. Doesn’t time fly…

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Kings Cross Station – Painting in Progress….


I’ve been busy this last week or two trying to resolve some paintings, which are needed for a solo exhibition later in the year at Cambridge Contemporary Art. This one is of Kings Cross Station, looking back towards the entrance. Progress as usual is tortuously slow, sigh.
Looking on the bright side, at least I have a title for the exhibition, ‘Destinations and Departures’, even if there are no paintings in it…..

My Personal Path to Getting The Paints Out….

This past week or so I have been a prisoner in my own home (although to be fair, my long neglected painting is progressing)…

With only one operational arm, I am unable to drive to the studio, let alone use this…

Or even these…

Because this 70lb monster barrelled into me and knocked me flying off my feet on to some handy concrete…

Resulting in a bruise stretching from my elbow to my shoulder (and let’s not forget the cracked rib).

Painting, Printmaking or Both?

I do like to be able to do both printmaking and painting – I find that one informs the other and I use both to explore a subject; to develop and refine an idea more fully. So once a painting is finished, I may use it as a starting point for a print and sometimes it’s the other way around.

And on a practical note, printmaking is a great way of persuading a gallery to stock your work – a few of your prints in their browser is not as much a risk as giving valuable wall space to a painting. Prints are more affordable in this recession too and the artist has more work available to send out to galleries, open exhibitions, etc., and thus has more opportunities to show.

So I find it enjoyable and advantageous to do both. You know those times when you’re so dispirited that you never want to see another lino block again? Well, you can just put down those cutting tools (try not to throw them out of the window) and turn once again, with a small sigh of relief, to a new white canvas. How lovely, you think, to be able to pick up a brush and enjoy the immediacy of painting (until the inevitable time comes when you never want to see another tube of oil paint again and wistfully recall the pleasures of printmaking…).

So anyway, here is an oil painting of mine (Early Morning, 50x50cms), which I sold at my show ‘From the City to the Suburbs’ at Cambridge Contemporary Art last year. It’s now available as a greetings card.

 After quite a bit of alteration to the original working drawing and a lot of simplification, I started to cut the four blocks – the colours used, in order of printing, were raw umber, crimson, cream (olive green and a lot of white) and monastral blue (as a glaze).

And here is the finished linocut, now called Up With the Larks, and due to be shown at Bankside Gallery during the RE Annual Exhibition next month….

Paintings at Art Fairs

And here is my own work on display at the Affordable Art Fair. I sold three of the four little paintings shown on the right, which was very nice….
I only sell my paintings at our studio stands at the art fairs, as I’ve found it doesn’t make financial sense to sell them through the galleries. Unfortunately I would need to double the prices, to take into account the commission that galleries need to charge, or accept only half what I can get for them myself.
Luckily I paint so slowly that there are never any left over after the art fairs anyway…