BLOG/DIARY
What is Normal? Tuesday 25th August 2020
There was a time when I could proudly boast that I had five sheds. My studio was 3 sheds cobbled together, but time and the weather has rendered it no longer fit for purpose (it drips, it's damp or too hot, its full of snails) and it's all being brought down in order to replace it with one much better one. That's the idea anyhow, but in the meantime I've nowhere to paint and nowhere to put my stuff - I guess it'll work out in the end! I'm aiming for a studio with much more space, especially as I've just started working very big. I realise this is very impractical, especially if a work doesn't get sold (where do I put all these paintings?) but I so enjoy working on this scale and consider was I really painting before... Anyway, during lockdown the family home has had 6 people back in it again - in many ways a good thing, but I'm pretty much ready to get back to 'normal' - or as Jimmy Cooper says in 'Quadrophenia', "What is Normal?"
There was a time when I could proudly boast that I had five sheds. My studio was 3 sheds cobbled together, but time and the weather has rendered it no longer fit for purpose (it drips, it's damp or too hot, its full of snails) and it's all being brought down in order to replace it with one much better one. That's the idea anyhow, but in the meantime I've nowhere to paint and nowhere to put my stuff - I guess it'll work out in the end! I'm aiming for a studio with much more space, especially as I've just started working very big. I realise this is very impractical, especially if a work doesn't get sold (where do I put all these paintings?) but I so enjoy working on this scale and consider was I really painting before... Anyway, during lockdown the family home has had 6 people back in it again - in many ways a good thing, but I'm pretty much ready to get back to 'normal' - or as Jimmy Cooper says in 'Quadrophenia', "What is Normal?"
Influences (II). Tuesday 18th February 2020
Every so often my dad would bring home bits of stationery from work. Mostly it was these A4, brown, hardback legers which we used as scrapbooks and sketchbooks. Each page was squared up and not ideal, but my big brother Glenn was forever sat at the table scribbling comics into them. He had a black biro, a red biro and a blue biro which he alternated depending on what he was drawing. Red and blue was perfect for Spiderman, or reds v blues ('Rilsey Rovers') and of course red was perfect for blood, LOTS and LOTS of it in 'Dipped Dinosaur'. I was probably about 6, Glenn 14 and I copied him as best I could, building a scrapbook out of HIS comics (thats another story!) and drawing superheroes and things being shot with ray guns. This one time my dad brought back a pile of white sticky-back paper, almost as big as me, which became the new thing. I tucked myself behind the sofa on my knees drawing with a box of crayons. The paper didn't take the wax too well but I have this happy moment in my head when I thought 'I can draw anything I want on this page' (I drew Captain America swinging from a flag pole). I try and channel that feeling.
Every so often my dad would bring home bits of stationery from work. Mostly it was these A4, brown, hardback legers which we used as scrapbooks and sketchbooks. Each page was squared up and not ideal, but my big brother Glenn was forever sat at the table scribbling comics into them. He had a black biro, a red biro and a blue biro which he alternated depending on what he was drawing. Red and blue was perfect for Spiderman, or reds v blues ('Rilsey Rovers') and of course red was perfect for blood, LOTS and LOTS of it in 'Dipped Dinosaur'. I was probably about 6, Glenn 14 and I copied him as best I could, building a scrapbook out of HIS comics (thats another story!) and drawing superheroes and things being shot with ray guns. This one time my dad brought back a pile of white sticky-back paper, almost as big as me, which became the new thing. I tucked myself behind the sofa on my knees drawing with a box of crayons. The paper didn't take the wax too well but I have this happy moment in my head when I thought 'I can draw anything I want on this page' (I drew Captain America swinging from a flag pole). I try and channel that feeling.
Influences (I). Friday 14th February 2020
When I returned to art in 2013 I set about building a library of art books. It's quite easy in Cambridge with so many charity shops and second-hand bookshops and I've now got loads. For about a year not a night passed without me staring hard at some masterpiece or other, hoping by osmosis that some of it might rub off on me.
A recent influence has been Cambridge artist Bob Abraham who sadly recently passed away. Once a stalwart of the Cambridge Drawing Society, Bob's grandchildren are my niece and nephew, but for whatever reason I never really got to meet/know him. Weirdly we never talked about art and certainly I never knew what an accomplished, dedicated artist he was. Not so long ago I was lucky enough to be shown around his studio by his wife Anne and was delighted to see many of his sensitive oil paintings and especially his beautiful sketchbooks. It's sad to think these may go relatively unnoticed as they are many, and full to bursting with drawings and preparatory drawings, some so subtly different as he carefully, quietly planned his works. This has influenced me, and my last 3 paintings have all been made on canvases that Bob made and have since, luckily, come my way. I'm hoping some of his skills and thoughtfulness will rub off on me too, and certainly those canvasses have a certain greater value because of their provenance.
When I returned to art in 2013 I set about building a library of art books. It's quite easy in Cambridge with so many charity shops and second-hand bookshops and I've now got loads. For about a year not a night passed without me staring hard at some masterpiece or other, hoping by osmosis that some of it might rub off on me.
A recent influence has been Cambridge artist Bob Abraham who sadly recently passed away. Once a stalwart of the Cambridge Drawing Society, Bob's grandchildren are my niece and nephew, but for whatever reason I never really got to meet/know him. Weirdly we never talked about art and certainly I never knew what an accomplished, dedicated artist he was. Not so long ago I was lucky enough to be shown around his studio by his wife Anne and was delighted to see many of his sensitive oil paintings and especially his beautiful sketchbooks. It's sad to think these may go relatively unnoticed as they are many, and full to bursting with drawings and preparatory drawings, some so subtly different as he carefully, quietly planned his works. This has influenced me, and my last 3 paintings have all been made on canvases that Bob made and have since, luckily, come my way. I'm hoping some of his skills and thoughtfulness will rub off on me too, and certainly those canvasses have a certain greater value because of their provenance.
Teachers, Tuesday 22nd April 2019
It was good to catch up with a couple of my school teachers at my recent exhibition in St Neots. To describe my art education simply it would be: during school I was encouraged, during art college I was discouraged. It was a significant shock to be told I was good until 19, then told I wasn't any good when I reached art school. Looking back I realise I wasn't ready for art school and as an adult would have approached the whole thing totally differently. Teachers of note would be Mr Todd who quietly encouraged and guided me at A Level, Mike at Foundation who made art fun and gave me a massive and deserved bollocking for turning up late to one of his lessons, telling me to 'not waste a second'and then Chris Jones at Manchester who bucked the college trend of telling me everything I did was wrong, to genuinely help me to get a 2:1. Finally David Sweet (Head at Manchester) who deserves a mention for once saying 'he didn't hate' one of my paintings - the closest to praise I ever got!
It was good to catch up with a couple of my school teachers at my recent exhibition in St Neots. To describe my art education simply it would be: during school I was encouraged, during art college I was discouraged. It was a significant shock to be told I was good until 19, then told I wasn't any good when I reached art school. Looking back I realise I wasn't ready for art school and as an adult would have approached the whole thing totally differently. Teachers of note would be Mr Todd who quietly encouraged and guided me at A Level, Mike at Foundation who made art fun and gave me a massive and deserved bollocking for turning up late to one of his lessons, telling me to 'not waste a second'and then Chris Jones at Manchester who bucked the college trend of telling me everything I did was wrong, to genuinely help me to get a 2:1. Finally David Sweet (Head at Manchester) who deserves a mention for once saying 'he didn't hate' one of my paintings - the closest to praise I ever got!
Just like Monet, Monday 28th January 2019
I am indeed, just like Monet - in that I now have a cataract in my eye. It didn't seem to hold him back, however I've got a few visual issues, including a temporary lens in my glasses like the bottom of a milk bottle. I've been doing lots of sketchbook work to 'keep my eye in', and then posting them daily on Instagram @dakinart, and though I don't get a coconut every time, occasionally I have a hit and love doing them. Here are some of my favourites of my family watching screens etc. Lucky for me that they are quite happy sitting around doing not a great deal!
'Alla Prima, Monday 21st January 2019
It was something of a revelation late last year to discover how much I enjoy painting directly from life again. I never intended working from photographs (and never did when I was younger), but when I returned to art in 2013 I was in something of a hurry and found myself seduced by my camera phone, and all the short cuts working from photographs afforded me. More recently however I've been taking my easel outside, or painting portraits from life and though it is MUCH harder, the challenge of it is very rewarding and lots of fun.
Whether Im any good at it has yet to come to light, but at Christmas I received 'Alla Prima' by Richard Schmid, which is nudging me along. This book was recommended to me by Adabanji Alade, sometimes of the telly, and is full of the kind of advice I was either not taught or probably ignored when I was a student. It's a whopping great thing, very expensive and quite hard to get hold of, but I enjoy the author's words of experience, and hope some of his tips are seeping in. Here is a recent portrait I did of my daughter Olivia, captured over three hours, very much in the 'Alla Prima' vein.
It was something of a revelation late last year to discover how much I enjoy painting directly from life again. I never intended working from photographs (and never did when I was younger), but when I returned to art in 2013 I was in something of a hurry and found myself seduced by my camera phone, and all the short cuts working from photographs afforded me. More recently however I've been taking my easel outside, or painting portraits from life and though it is MUCH harder, the challenge of it is very rewarding and lots of fun.
Whether Im any good at it has yet to come to light, but at Christmas I received 'Alla Prima' by Richard Schmid, which is nudging me along. This book was recommended to me by Adabanji Alade, sometimes of the telly, and is full of the kind of advice I was either not taught or probably ignored when I was a student. It's a whopping great thing, very expensive and quite hard to get hold of, but I enjoy the author's words of experience, and hope some of his tips are seeping in. Here is a recent portrait I did of my daughter Olivia, captured over three hours, very much in the 'Alla Prima' vein.
Eye should be so lucky, Thursday 6th December 2018
Annoyingly my artistic activity has come to a grinding halt due to an operation for a detached retina. The way to 'look' at it is I'm glad to have had it, otherwise I was going to lose the sight in my right eye (worries about going blind/daydreams about finding fame as the 'one-eyed painter.')
However, I was on something of a roll with the painting outside, and guess I may take a few steps backwards when I do manage to get out again. Currently my right eye is like looking through a bag with a goldfish in it (without the goldfish) that you get from a fair. Actually fairs probably don't do that anymore, but I did win one once, and it lived to 7.
My left eye is working over-time, but hopefully by Xmas my sight'll be nearly back to 'normal'. In the meantime if you see me walking into a lampost, its because I'm half-blind, not blind/drunk.
Annoyingly my artistic activity has come to a grinding halt due to an operation for a detached retina. The way to 'look' at it is I'm glad to have had it, otherwise I was going to lose the sight in my right eye (worries about going blind/daydreams about finding fame as the 'one-eyed painter.')
However, I was on something of a roll with the painting outside, and guess I may take a few steps backwards when I do manage to get out again. Currently my right eye is like looking through a bag with a goldfish in it (without the goldfish) that you get from a fair. Actually fairs probably don't do that anymore, but I did win one once, and it lived to 7.
My left eye is working over-time, but hopefully by Xmas my sight'll be nearly back to 'normal'. In the meantime if you see me walking into a lampost, its because I'm half-blind, not blind/drunk.
Back to basics, Thursday 8th November 2018
A few hours spent on the edges of Anglesey Abbey, Lode, should have produced something beautiful. I however made something of a mess of it, and probably because I'm trying too much too soon with my 'plein-air' painting. My drawing's ok, and my colour matching too, but brush work and decision-making is proving a test, especially having worked almost entirely from photographs in the last couple of years. I decided to go back to basics and try something simpler, and at last a couple of paintings I'm fairly pleased with and were a joy to paint. They may be a little 'pastelly' in colour, but I guess that was my solution-making at the time.
A few hours spent on the edges of Anglesey Abbey, Lode, should have produced something beautiful. I however made something of a mess of it, and probably because I'm trying too much too soon with my 'plein-air' painting. My drawing's ok, and my colour matching too, but brush work and decision-making is proving a test, especially having worked almost entirely from photographs in the last couple of years. I decided to go back to basics and try something simpler, and at last a couple of paintings I'm fairly pleased with and were a joy to paint. They may be a little 'pastelly' in colour, but I guess that was my solution-making at the time.
Smash it up! Tuesday 6th November 2018
Whose big idea was it to paint outside?! Oh yeah mine :(
Whose big idea was it to paint outside?! Oh yeah mine :(
A Nice Surprise, Tuesday 22nd October 2018
This week I was lucky enough to bump into an old college pal of mine Peter Brown, painting a classic Cambridge view on the Backs. Many years ago we were studying Fine Art in Manchester and it's fair to say were barely taught a thing, yet 'Pete the Street' is now world-famous, has a bunch of letters after his name, and about a million followers on instagram etc. He is admired by artists and art-lovers alike, and something of an inspiration.
Made my day!
This week I was lucky enough to bump into an old college pal of mine Peter Brown, painting a classic Cambridge view on the Backs. Many years ago we were studying Fine Art in Manchester and it's fair to say were barely taught a thing, yet 'Pete the Street' is now world-famous, has a bunch of letters after his name, and about a million followers on instagram etc. He is admired by artists and art-lovers alike, and something of an inspiration.
Made my day!
MORE PLEIN AIR, Saturday 20th October 2018
This week I was over at Paradise Fen, where river views appear in the fishing swims. It's quiet on the water just now, but a good class of conversation can be heard as academics from the local colleges stretch their legs in the nature reserve. The sun was in and out and it's no surprise that changing light is proving quite tricky for me. On Friday I visited the 'Capturing the Moment' Plein Air exhibition at the Menier Gallery in London. I've rarely enjoyed a show so much, and it was made especially enjoyable as several of the artists were there, and were happy to talk about their work and being a 'plein air' artist. It was great to meet Tom Hughes and Adebanji Alade, and my namesake Tony Dakin, pictured here. These are some of the very best Plein Air painters in the UK today, and for me it was an unmissable show. London on a sunny autumn day isn't too shabby either, from Burmundsey, across tower bridge through Leadenham market to Boxpark in Shoreditch, very nice! |
Two Dakins, unrelated, probably
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CDS Autumn show, Monday 15th October 2018
Next weekend is the Autumn CDS Exhibition, and one of the works I have chose is this one 'Mary', a charcoal portrait commission. I have done quite a few charcoal portraits now, but I think this is currently my favourite. The photo for it (provided) was no bigger than a 50p, but as I worked on it Mary really came alive for me. There she was, right there!
Mary is the mother of some very good friends of mine, and it was was amazing how different characteristics of her children's faces emerged as I made progress. Sadly Mary is no longer with us -I'm hoping some of the CDS regulars will recognise her and remember what a lovely person she was. Here is my good friend Jenni looking at the picture of her mum, because I told her to.
ADVENTURES EN PLEIN AIR, Friday 12th October 2018
This week I was in Grantchester for further adventures with the box easel. To be fair the easel is barely hanging together, but Wednesday was a glorious October day that hit 23 degrees, and it was lots of fun to be by the Mill Pond, as well as hard work. I've taken to making very quick thumbnails of views like this one when we walk the dog, or when I spot somewhere out, which help me decide whether a composition has enough for me to go on, and I guess also not too much. I am a novice in this form of painting, but the thing is you really do learn on the job. People make comments as they pass, and the environment has its own part to play. On this occasion I and my painting were bombarded by lady-birds throughout! |
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EN PLEIN AIR, Friday 5th October 2018
I have been itching to try 'en plein air' painting for sometime. In fact if I won the lottery I think I would just do this for an entire year to see if I could get any good. As it is I aim to do it often - mostly because it's a really enjoyable challenge.
I've been pretty nervous about it - getting the right kit together, finding good places to paint, people looking over my shoulder - but on my 51st birthday I treated myself to a day out in the fields in Fulbourn. The first thing that happened as I got my stuff together was a hinge on my box easel broke. You may have seen videos of frustrated workers kicking the c**p out of their computers, and I was tempted to jump up and down on it. However I decided this wouldn't get any painting done, and managed to botch it back with some schoolboy woodwork.
Painting like this is really HARD, hats off to those who crack it. Back to the youtube videos!My painti
I have been itching to try 'en plein air' painting for sometime. In fact if I won the lottery I think I would just do this for an entire year to see if I could get any good. As it is I aim to do it often - mostly because it's a really enjoyable challenge.
I've been pretty nervous about it - getting the right kit together, finding good places to paint, people looking over my shoulder - but on my 51st birthday I treated myself to a day out in the fields in Fulbourn. The first thing that happened as I got my stuff together was a hinge on my box easel broke. You may have seen videos of frustrated workers kicking the c**p out of their computers, and I was tempted to jump up and down on it. However I decided this wouldn't get any painting done, and managed to botch it back with some schoolboy woodwork.
Painting like this is really HARD, hats off to those who crack it. Back to the youtube videos!My painti
'A Gift From Norway, 1975', oil on canvas, 83cm square.
A GIFT FROM NORWAY, Friday 28th September 2018
I have just finished repainting this oil on canvas, and also renamed it 'A Gift From Norway, 1975' (83cm square). This is from a family photo that I love (my wife and her sister, when they lived in Reading), and originally painted it as a challenge when I returned to painting in 2014. I was finding oil painting incredibly hard so attempted something big and difficult to help overcome this. As well as it being damaged by splashings of stray paint, I was convinced I could improve it, so completely repainted it. It took a lot longer than I anticipated.
I aim to enter it into a competition sometime, which one I don't know just now.
Friday 14th September 2018
The summer holidays have been and gone. I became quite adept at staring into space in a field in Norfolk. This carried on in any space near water in France where some sketching was done in and around the beach, and in the bustling harbour of Sete - which was way too hot to do anything really.
Ultimately I'm no good at doing nothing for too long, so have been happy to get back to 'normal' behind the easel as my family returns back to school/work etc, giving me the space to sit for hours with a brush in my hand. I've always found painting/drawing totally absorbing and am really happy sitting for hours, with the radio/music on - the time rushes by. There can be a lot of internal conversations in this process. Sometimes it's 'this is the best painting I've ever done', while others it's 'Oh god it's completely s**t and pointless and I can't paint' etc. Often you find yourself thinking about some occasion, or person, or anything, prompted by who knows what. At this time of year I get inspired by the memory of the new school year - the new pencil case thing where you get pristine exercise books, and sharp pencils, and clean erasers and rulers and felt-tips and stuff and you have all good intentions for the academic year ahead. This year, annoyingly, I have been thinking way too much about my first year at Manchester Poly doing Fine Art (1987!) I remember SO much about that year - much more than times more recently - and to be fair I made quite a mess of it for all the reasons a 19 year-old might. I didn't have the where-with-all or humility to ask the right questions, to do the right things (to stop doing the wrong things!) and was very nearly kicked off the course. I genuinely still have nightmares about it. In the dreams everyone else knows what to paint but I don't. Sometimes they're all painting shoes and I'm thinking 'I DON'T WANT TO PAINT SHOES!' Stop thinking about it Andy.
The summer holidays have been and gone. I became quite adept at staring into space in a field in Norfolk. This carried on in any space near water in France where some sketching was done in and around the beach, and in the bustling harbour of Sete - which was way too hot to do anything really.
Ultimately I'm no good at doing nothing for too long, so have been happy to get back to 'normal' behind the easel as my family returns back to school/work etc, giving me the space to sit for hours with a brush in my hand. I've always found painting/drawing totally absorbing and am really happy sitting for hours, with the radio/music on - the time rushes by. There can be a lot of internal conversations in this process. Sometimes it's 'this is the best painting I've ever done', while others it's 'Oh god it's completely s**t and pointless and I can't paint' etc. Often you find yourself thinking about some occasion, or person, or anything, prompted by who knows what. At this time of year I get inspired by the memory of the new school year - the new pencil case thing where you get pristine exercise books, and sharp pencils, and clean erasers and rulers and felt-tips and stuff and you have all good intentions for the academic year ahead. This year, annoyingly, I have been thinking way too much about my first year at Manchester Poly doing Fine Art (1987!) I remember SO much about that year - much more than times more recently - and to be fair I made quite a mess of it for all the reasons a 19 year-old might. I didn't have the where-with-all or humility to ask the right questions, to do the right things (to stop doing the wrong things!) and was very nearly kicked off the course. I genuinely still have nightmares about it. In the dreams everyone else knows what to paint but I don't. Sometimes they're all painting shoes and I'm thinking 'I DON'T WANT TO PAINT SHOES!' Stop thinking about it Andy.
Tuesday 20th June 2018
Just back from an amazing few days in Monmartre, Paris. In the sunshine the place dazzles with life and noise and smells, and basically I love it. I'm also a massive fan of the writer George Simenon so really enjoying walking in the footsteps of those in his Parisian tales. We spent nearly four hours in the Musee d'Orsay which is just superb, and a temporary exhibition 'Ames Sauvages', featuring artists from Estonia, Lithuania was an unexpected treat. We were wowed by the simple beauty of Johan Walter's landscapes and as ever, the work of Bonnard and Vuillard did it for me. The Musee de l'Orangerie also had its moments (where I'm pictured) but not quite the occasion as at Orsay - the Monet water-lillies, initially staggering but somehow soporific.
Just back from an amazing few days in Monmartre, Paris. In the sunshine the place dazzles with life and noise and smells, and basically I love it. I'm also a massive fan of the writer George Simenon so really enjoying walking in the footsteps of those in his Parisian tales. We spent nearly four hours in the Musee d'Orsay which is just superb, and a temporary exhibition 'Ames Sauvages', featuring artists from Estonia, Lithuania was an unexpected treat. We were wowed by the simple beauty of Johan Walter's landscapes and as ever, the work of Bonnard and Vuillard did it for me. The Musee de l'Orangerie also had its moments (where I'm pictured) but not quite the occasion as at Orsay - the Monet water-lillies, initially staggering but somehow soporific.
Tuesday 13th June 2018
An old mate of mine from St Neots, Simon King-Underwood, has been round taking a few portraits of me at work in my studio in Cambridge. Like me, Simon returned to art quite recently and is finding his way back into the many practices that creativity offers up, including photography - and luckily for me I've got some useful photos to add to my portfolio, rather than the snaps of me on my hols I've been using til recently. Cheers Simon, top work! Instagram @simon.king.underwood
An old mate of mine from St Neots, Simon King-Underwood, has been round taking a few portraits of me at work in my studio in Cambridge. Like me, Simon returned to art quite recently and is finding his way back into the many practices that creativity offers up, including photography - and luckily for me I've got some useful photos to add to my portfolio, rather than the snaps of me on my hols I've been using til recently. Cheers Simon, top work! Instagram @simon.king.underwood
Monday 11th June 2018
I have some paintings now on show at Byard Art as part of a mixed exhibition. It's a good feeling... I remember wandering around Cambridge when I was just out of college with no idea how to go about getting my work into one of the galleries. It's only taken me 25 years! .The photo shows four of the five works - the left image hos now been sold and replaced by 'At Browns' - which as yet I have no photo of. I hope i get to see the 'Trumpington Street picture again, as I put a lot into it, commitment and thought. It is probably my most ambitious painting yet.
I have some paintings now on show at Byard Art as part of a mixed exhibition. It's a good feeling... I remember wandering around Cambridge when I was just out of college with no idea how to go about getting my work into one of the galleries. It's only taken me 25 years! .The photo shows four of the five works - the left image hos now been sold and replaced by 'At Browns' - which as yet I have no photo of. I hope i get to see the 'Trumpington Street picture again, as I put a lot into it, commitment and thought. It is probably my most ambitious painting yet.
Friday 1st June 2018
A big thanks to my pals David and Paul at Romsey Barbers on Thoday Street, Cambridge, who have been showing my paintings for some time now. There they are on the left, look at those Geezers! And there's my painting - available to buy! www.romseybarbers.com |
Important people look at my painting
Thursday 10th May 2018
Big day for me yesterday, as my portrait 'Wonder Woman' was shown at the Royal Society of Portrait Painters exhibition at the Mall Galleries in London.
There were some amazing works on show, a lot of interesting people milling around and I was fairly moved to be part of it. It was 5 years ago I did my first drawing for 20 years (Old Mr Farrer Up the Road) and I'm delighted to come this far. It was inspiring to see so many different styles and approaches, and also that smaller works and drawings were included.
Sun was shining, lovely long walk along the South Bank to Burmondsey and only my blistered feet to complain about.
Big day for me yesterday, as my portrait 'Wonder Woman' was shown at the Royal Society of Portrait Painters exhibition at the Mall Galleries in London.
There were some amazing works on show, a lot of interesting people milling around and I was fairly moved to be part of it. It was 5 years ago I did my first drawing for 20 years (Old Mr Farrer Up the Road) and I'm delighted to come this far. It was inspiring to see so many different styles and approaches, and also that smaller works and drawings were included.
Sun was shining, lovely long walk along the South Bank to Burmondsey and only my blistered feet to complain about.
Monday 30th April 2018
It is a year since the Private View for my solo exhibition at Novi on Regent Street, Cambridge. Apart from the impromptu speech that was thrust upon me (my 'friend' Nick Lowe described it as "genuinely the worst speech he'd ever heard") it was a memorable occasion, and I worked out that over 200 people attended the Private View. In the month that followed I was 'artist-in'residence', and I got to meet lots of people and catch up with a few old faces - including school friends etc from St Neots, people I met on my Foundation Course in Cambridge, and even my best pal from my time at art college at Manchester Poly, Mr M Beattie.
I really enjoyed being part of the Novi furniture for a short time - it was definitely a good moment.
It is a year since the Private View for my solo exhibition at Novi on Regent Street, Cambridge. Apart from the impromptu speech that was thrust upon me (my 'friend' Nick Lowe described it as "genuinely the worst speech he'd ever heard") it was a memorable occasion, and I worked out that over 200 people attended the Private View. In the month that followed I was 'artist-in'residence', and I got to meet lots of people and catch up with a few old faces - including school friends etc from St Neots, people I met on my Foundation Course in Cambridge, and even my best pal from my time at art college at Manchester Poly, Mr M Beattie.
I really enjoyed being part of the Novi furniture for a short time - it was definitely a good moment.
- Tuesday 24th April 2018
- Cambridge Drawing Society's Spring Exhibition has been and gone, and as usual it was busy and successful and this year with lots of new members which I think is always a good thing. The PV was so busy they were queuing onto Trumpington St and for while entry was a one-in one-out (ish) basis, and made for a lively evening. My charcoal drawing 'Emily V' (pictured) was 4th in the Visitor's Favourite vote, and considering there were 438 works to choose from I'm pretty happy with that. My favourites this time were the works of Karen Macwhinnie and John Preston and I think George Hamilton is a super painter, though he seems to visit some far-flung places that I doubt I'll ever get to!
- Wednesday 28th February 2018
- The 'Beast from the East' is here, and while the rest of my family pray for a day off school/work, there aren't enough hours in the day for me to do all the paintings that are half-finished, or exist in my head, and I'm happy to be in my art-shed despite the cold. Ten years of being a gardener prepared me for the extremities and 3 pairs of trousers, a bunch of jumpers, hat, scarf and electric heater will do for me. Picture shows a view (inc daughter pelting shed with snowballs) from my window this afternoon
- I am currently doing a double portrait painting, which is taking me longer than anticipated. My intention to 'loosen-up' (arguably the only advice I was ever given at art college) has become 'tightened' in my quest for likeness. I also like to live with a finished portrait for a while and put it before an objective eye, in case I have made some kind of error that I am blind to, being too close to it.
- On the subject of portraits, 'Wonder Woman' has been selected for the Royal Society of Portrait Painters Open Exhibition, which of course I am really pleased about - that being the main aim of this winter's work.
'The Same, But Different', charcoal, 48x74cm, 2018
Wednesday 21st February 2018
I recently revisited an image which dates back to my days behind the bar in the King's Head, St Neots in the 90s. I was going through some old stuff and came across the original negatives for the image which became 'That Was What There Was' (see 'DRAWINGS/PAINTINGS') - a large drawing that sold quickly and got a fair bit of interest from some of my peers, who remember that time, and some, who remember the actual person, Dave.
I wanted to try something new with it, so I got a new print made, then jigged things around in Photoshop and was really excited about a poster format. The charcoal drawing, which I called 'The Same, But Different', isn't quite what I was after, so I may try again, a lot bigger, with paint, as for me the moment is very real, and these days I don't get to spend all day down the pub waiting for something, anything, to happen.
I recently revisited an image which dates back to my days behind the bar in the King's Head, St Neots in the 90s. I was going through some old stuff and came across the original negatives for the image which became 'That Was What There Was' (see 'DRAWINGS/PAINTINGS') - a large drawing that sold quickly and got a fair bit of interest from some of my peers, who remember that time, and some, who remember the actual person, Dave.
I wanted to try something new with it, so I got a new print made, then jigged things around in Photoshop and was really excited about a poster format. The charcoal drawing, which I called 'The Same, But Different', isn't quite what I was after, so I may try again, a lot bigger, with paint, as for me the moment is very real, and these days I don't get to spend all day down the pub waiting for something, anything, to happen.
'Wonder Woman', oil on board, 2018
Monday 19th February 2018
Until this year I’d never tried to exhibit in London before, but in February I had a portrait ‘pre-selected’ for the Royal Society of Portrait Painters Open Exhibition at the Mall Galleries - I spent most of this winter working on portraits with this exhibition in mind. Not all of them have been any good, but I guess I wouldn’t have got to one I did like without doing the other ones first. In ‘Wonder Woman’ (pictured) I decided to steer clear of the light vs shade thing I’ve been working on in the recent past, in order to show the character of the model more clearly - if it was a dinner on 'Master Chef' I would have said ‘I wanted to let the ingredients speak for themselves’!
‘Preselected’ means that the painting has to go to the gallery and be shown to a panel for selection to the final show. I have no idea how many pictures go through this stage, so don’t know my chances – fingers crossed. Instead of taking the very large painting myself I decided to use Picture Post, and had to meet with one of the business owners Tom at the Cambridge Services, which is pretty much to Cambridge what Luton Airport is to London. The handover took place at 8pm, in the dark, and rainy, and felt very cloak and dagger being new to the game. The painting then heads back in a van to storage in Doncaster before going to London in a week or so with a bunch of other paintings gathered along the way, safely in the hands of a company who do this thing for a living. I hope.
Until this year I’d never tried to exhibit in London before, but in February I had a portrait ‘pre-selected’ for the Royal Society of Portrait Painters Open Exhibition at the Mall Galleries - I spent most of this winter working on portraits with this exhibition in mind. Not all of them have been any good, but I guess I wouldn’t have got to one I did like without doing the other ones first. In ‘Wonder Woman’ (pictured) I decided to steer clear of the light vs shade thing I’ve been working on in the recent past, in order to show the character of the model more clearly - if it was a dinner on 'Master Chef' I would have said ‘I wanted to let the ingredients speak for themselves’!
‘Preselected’ means that the painting has to go to the gallery and be shown to a panel for selection to the final show. I have no idea how many pictures go through this stage, so don’t know my chances – fingers crossed. Instead of taking the very large painting myself I decided to use Picture Post, and had to meet with one of the business owners Tom at the Cambridge Services, which is pretty much to Cambridge what Luton Airport is to London. The handover took place at 8pm, in the dark, and rainy, and felt very cloak and dagger being new to the game. The painting then heads back in a van to storage in Doncaster before going to London in a week or so with a bunch of other paintings gathered along the way, safely in the hands of a company who do this thing for a living. I hope.
Grantchester - It snowed.
Tuesday 12th December 2017
On Sunday I took my first CDS workshop in ‘Portraits in Charcoal from Photographs’ in Grantchester. It was in the balance as this was the morning that the snow fell in buckets, but most people made it and really it added to the occasion. Though i have never been taught any of this stuff (they didn't teach 'technique' at art college!) over the past few years I have picked up quite a few things I think worth passing on for anyone who enjoys working in charcoal. What I like is that charcoal is so basic but is really adaptable with lots and lots of ways of adding to your tool kit and mark-making methods. I've got a variety of items that I've adapted to the job, but none so far that can beat the cat's toothbrush that someone brought in for creating texture. Always ready to learn!
I thought it was very kind of me to get my wife to make an apple cake for the occasion, which went down really well, and as the snow continued nearly all day outside all we needed was Robson Green and the naughty handsome vicar from ITV's 'Grantchester' to pop in on a break from their Christmas Special for a slice or a mince pie. Sadly they couldn't make it - their loss!