I had recently been invited to give my third painting demonstration to members of Newquay Art Society, the last one having been some four years ago. I knew that I had to use a theme that would sit well within the collection I’m putting together for a forthcoming exhibition and that, having ’blocked-in’ the composition in front of these aspiring artists, I would want to develop it further back at my studio. Trawling through the archive of my own digital reference materials I came across shots I took a few years ago that seemed to provide a promising starting point. It was during a summer afternoon visit to the cliffs at Bedruthan Steps. I had been recording the forms of the spectacular coast and sea when I recall that a clap of thunder made me turn around towards the National Trust café there. I remember thinking at the time that the mass of cloud above and the rooftop forms of the buildings below provided an image of the kind of identity and difference that fascinates me. Re-discovering this recently, it seemed to me to ’fit the bill’ well. I knew I could explain about my interest in how the illuminated cloud mass was for me in some ways similar to, in others very different from, the roof structures below. I knew that ’lively greys’ suggested by billowing cloud forms could take centre-stage between these two areas of the painting so that is what I used to enliven what could otherwise have been a characterless part of the composition.
Silvery cloud above winter trees ( https://www.hendersonsmith.co.uk/product/silvery-cloud-above-winter-trees/ ) arose from my response to colour interactions on a bright wintry afternoon near my studio here in Mid Cornwall as I walked with my dear elderly collie ‘Rags‘. The joyful clarity of most of the sky above this hillside meadow, adorned with leafless trees and illuminated by the glow of the gradually sinking sun, seemed at first marred by the cloud forms moving across it. Then I realised what was going on and that it could be brought out through the process of painting. I always strive for what a college tutor of mine used to call ’lively greys’, finding ways to achieve them optically and sometimes by mixtures other than those of white and black. The cloud bank here provided an opportunity to place such greys in relation to the cool brightness of the open sky, the sombre warmth of winter trees and the earthy golden greens of a foreground field. There it could hang suspended, warmer than the azure blue, cooler than the earthy hues beneath, enigmatic and intriguing.