During first lockdown in March 2020, a group of enterprising life models set up Zoom life drawing. I have found these life drawing sessions to be an inspiring discipline in observation and drawing skills. Although my recent work has mainly been inspired by landscapes, working from the figure has always been a passion of mine.
Another source of inspiration is pre-historic cave art, and in my studio I have a facsimile of The Lion Man, a 40,000 year old mammoth ivory carving found in Germany. It is possible this figure could represent a shaman. While gazing at compelling photos in Jean Clottes “Cave Art” and half listening to the daily afternoon Covid19 briefings on the radio, I was struck by how sheltered 21st century, first-world humans have been to date. Our early ancestors were never far from a catastrophe. This Lion Man might have been all that stood between disaster and survival in the minds of it’s makers.
Three strands of ideas for a painting started to develop: the human figure, the Lion Man head and bird motifs from one of my sketch books. The birds represent the news: “following the science”, the hardships of many and of course “fake news”. Quite often the title for a painting comes early in the process, “We Have Been Here Before” is a fair statement of my intent for this painting.
To explore these motifs, I first made an acrylic painting. I like the fast dying quality of acrylics, allowing me to work freely.
Working in encaustic allows for sgraffito, the technique of removing the top layer of paint to reveal the underlayer. My mark making has always had this impulse to carve, to remove.
We Have Been Here Before - Encaustic
What was solid has gone. This might become a painting or it might just remain a sketch and a worried feeling.
Encaustic painting, sketchbook and Brushes XP. Brushes XP is such a useful tool for playing with ideas.
It is so stimulating to work with fellow creatives once in a while. I’ve always loved life drawing and mono printing. Pegasus Art Shop in Stroud is run by artists for artists, it is a great source of art materials and workshops. www.pegasusart.co.uk
I make my own encaustic paints by mixing dry pigment into melted beeswax that I have prepared with Damar resin.
I find photography is a useful, additional sketching tool, best used with a strong edit. For me, taking the time to observe, think and sketch in the landscape is the key to making a painting in the studio. Sometimes though, taking your gloves off is a really bad idea, only a quick photo is possible and then your phone or camera battery has to be speedily put back deep inside your snowmobile suit to keep warm.
I love sketching, it is so exciting making those first marks, trying to make sense of what one is seeing. Seeking the essence of the composition.
Gentle smell of warm beeswax and the sound of February sunset birdsong.
Much of my inspiration comes from being in wilder landscapes. I feel refreshed, worries easing their grip with every step. It is also a comfort to know that I am part of a huge tribe, all of us drawn to our landscape of solace. This is not a frivolous activity. We return in a more resourceful state of mind, better able to help ourselves and others.
Happy Place Fell. Really is the name on the map. Helvellyn behind.
Flight from Tromso north to Svalbard in December into the Polar night. One can be quite cosy in 24 hour darkness and bitter cold, as long as the power station in Longyearbyen keeps working.
Just above freezing in the studio first thing.