2 comments Saturday, 30 April 2011
17 Guests. 14 days.
51 meals, umpteen bottles of wine, Late nights, but hot balmy days on the beach.
Great fun but exhausted.
My studio beckons offering solace.
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New Work

0 comments Wednesday, 13 April 2011
Persephone 1.
30cm x 30cm. Oil, Crayon, Graphite & Pastel on Canvas

Persephone 2.
30cm x 30cm. Oil, Crayon, Graphite & Pastel on Canvas

Persephone 3.
30cm x 30cm. Oil, Crayon, Graphite & Pastel on Canvas

Persephone 4.
30cm x 30cm. Oil, Crayon, Graphite & Pastel on Canvas
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Nina Rodin

"Inventory – All I know about painting 2010 started in 2008 as a diary of my arbitrary use of colour while painting a large canvas. Every time I have changed the colour on my brush, I painted a label, dated in pencil. Subsequently I added to this diary by painting a label with every type of painterly mark I could think of in each type of paint media I had at my disposal. Finally I cut out magazines, postcards, gallery invites and exhibition catalogues to add all the marks by other artists I had looked at. The resulting Inventory fails because it can never be complete and evokes as much the rich repertoire at the artist's disposal as it does the limits of a scientific mode of inquiry and of human understanding. My mode of working is thus marked both by how painting seduces me by its infinite complexity and by my desire to hold the subject at arm's length and make it the object of a pseudo-scientific form of enquiry"

Nina Rodin. (Taken from Axis Database)
I stumbled across this image whilst deciding whether to join Axis. My nemesis is 'Colour'. It scares me and I just love this explosion..

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New Painting.

1 comments Monday, 11 April 2011

Untitled. 150cm x 150cm. Oil, Crayon and Graphite on Canvas.
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I'm so excited.

0 comments Sunday, 10 April 2011
I cant wait for morning.
Don't you just love it when work in your studio suddenly makes sense and leaps forward and the mist of uncertainty is lifted.

I think this wonderful spring weather helps too! And the Magnolia Tree, a particularly melancholy specimen is glorious this year, its pink white lotus like explosions giving off an incredible heady scent that drifts into my studio on the breeze.
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Drawing Symposium

I spent Saturday morning in Oriel Myrddin at the Drawing symposium, organised by the gallery, to run in conjunction with the Jerwood Drawing Prize Show that's currently on exhibition.
Firstly, it was a gloriously hot day, and when we broke for lunch at 1pm I simply couldn't return. The morning lectures, had exhausted me. My head was buzzing with lots of ideas, that an afternoon of further discussion, would have probably dissolved what I'd solidified in my mind.
It was interesting to have three different perspectives on drawing and allowed me to re-visit art works that I'd not seen for some years. Roger Moss's talk and his photographs from Rodin's studio were particularly interesting and were so like Jake and Dinos Chapman's Disaster of War, I was really quite shocked that I hadn't made the connection before. His work looked so contemporary.  It was a real treat to be re-introduced to  Rodin's wonderful, quick watercolours' too and Barry Flannagan's Currency really made be smile.
May be we should all invent our own money!
I enjoyed Roger's  take on what drawing was and is. He had a particular interest in Haptics, which is something very close to my heart, as my partner has been working in this area for some time, and it was interesting to see how it could be utilised in the Art world.
But the main focus to me, seemed the void that is opening up between the traditional concept of drawing, and the digital and how drawing can be adapted in contemporary practise.

 What was clear by all speakers and all artists highlighted was the basic hand and pencil symbiosis, and how all practitioners use it to express their ideas.
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Desperate to Etch!

2 comments Thursday, 7 April 2011
I've always wanted to print make.
I took part in a Residency at Seacourt Print Workshop in Belfast about 20 years ago, and loved it.
My nearest facility is 40 miles away, which eats too much into my day.
I'm lucky enough to have a Rollaco, used to belong to Maurice Cockrill no less! And I've developed various ways of making images which usually involve collagraphs and Perspex Drypoints, but I just cant get the depth that I'm looking for.
I've discovered a couple of really good printmaking blogs, with lots of great images and processes..
but if anyone out there has any ideas about how I can get my work to look more like an aquatint I would be very very grateful. (I absolutely know that there is no substitute, but I'm stuck).
Ireri Topete a Mexican printmaker
I love this crackle effect....

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Beautiful Ink.

2 comments Wednesday, 6 April 2011
Qi Baishi (1863-1957)

I have a vague memory of being shown this wonderful work at college, and dismissing the paintings at the time because they seemed so alien to my own thoughts and ideas, but now I revisit and find so much beauty in the composition and strength of line.
Chinese Art pulls at my very core these days. I find great inspiration in the soulful imagery. The considered marks and the controlled emotion captured in the imagery. And the black, I love the black. I often feel so guilty because I rely so much on the sculptural qualities of this magnificent colour.
This black is particularly wondrous. Its inky translucency dragging me in and the perfect balance of the white paper. Magnificent.

Interesting Fact: 
I see that his auction records last year were second in the world. 
Grossing an incredible $339,231,302.00. (The Number one spot being retained by Picasso).
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