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Open studio 2018

Fascinating and helpful conversations during Open Studio Week 2018

Cornwall Open Studio Week this year proved especially helpful to me for some of the conversations I had with visitors about my future plans. Some of you were part of those dialogues and I want to thank you for the clarification they brought me. In some cases it was about the pieces I’ll be showing in my September Bodmin Shire Hall exhibition ‘REPRIEVE’, about how particular canvases relate to specific points in my ongoing experience of battling cancer. So, most of the image links below take you to a page about the collection for that planned exhibition.

However, the last two shots on this page, also picture links, relate to conversations about my planned reconstruction of the Dome of Human Kindness, an ambitious mural project originally from my student years in Italy. In this case those two additional photos show the front and back of the first triangular canvas to be re-stretched for this project, painted in translucent layers on its marine plywood backing during Open Studio Week. These two photos are picture links that take you to pages explaining their context in the plan. There are seventeen more panels to be developed in this way so expect further postings about this over the coming months. For the story of how the original mural came into being in 1972 click HERE for an earlier blog post about it.

South and part of west wall

part of west and north walls

Part of north and east walls

East windows towards conservatory

Into the conservatory

Parts of north and east walls of conservatory

West and north walls of conservatory

A1 panel interior surface

A1 panel exterior surface

Among the conversations I had during the recent Open Studio Week on the topic of my dome reconstruction was one that came from an extraordinary re-encounter with a gentleman who had been studio demonstrator on the first two years of my Fine Art degree course at Newcastle some fifty years ago and who sought me out on this occasion. How satisfying it was to explain my current obsession about this project to a man who had done so much to encourage me to explore what I think of as such ’off the wall’ schemes all those years ago.

His partner’s insightful comments and appreciation were also invaluable to me. Conversations with friends about the thinking behind the development of this project in particular can be very clarifying for me. You might like to enter into such a conversation with me online through commenting on this post or by commenting about posts on one of the two art Facebook pages that I run. These are at: and .


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About Cumulus and rooftops painting

Cumulus and rooftops ( )

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.

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About Silvery cloud above winter trees

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.

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Researching costs for a reconstruction

 This post refers to plans to re-construct my ‘Of Human Kindness’ dome that dates from 1972. Click HERE to see a visualisation of the structure.

On 27th March 2018 I collected the first re-stretched triangular canvas of the 18 that will make up the reconstructed dome. This can be seen in the background of one of these shots. This is part of a ‘pilot’ study for the whole project so that I can work out all the costs prior to the start of a ‘crowdfunding’ scheme once I have clearance from the owners of the intended site (expected in June or July 2018). It’s a historic moment for me.

The approx 1/5th MDF scale model on the table in the foreground is to enable the angles of the bevelled edges of each panel to be worked out.

 Darren of T.P. Timber has been explaining the need for the model to calculate all the angles for the bevels. I wanted to include him in the shot to show the scale of the approx 1/5th scale model.

 Here’s a shot of the interior of the model.

Watch out for further updates!


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New pieces in my collection for Reprieve

I’m writing to tell you about three new additions to my collection for Reprieve, my September 2018 exhibition to be held at Bodmin Shire Hall.

Winter dusk at St Columb ( ) has been a response to the darkest time of the year and in particular became for me about my sense of how the warmth of community life sustains me through such times, whether they are literally wintry or just sombre and worrying like the experience of serious illness that dominated 2017 for me.

Winter light, Mawgan Porth ( ) aims to express something of the awe and wonder that can occur for me in the presence of light, water and coastal landscape forms in a quite simple combination.  Such responses can, I find, be enhanced by the realisation that I have survived until now!

Evening gardens, St Columb ( ) uses source material from the autumn to provide references to colours and shapes with which I could express the delight I feel about continuing to be involved in community life here as my recovery progresses.

Each of these paintings, like all the others currently intended for this exhibition is currently available at a 30% pre-exhibition discount that will continue just until the end of April. You can see them all so far at . A proportion of the proceeds of these sales will be donated to a cause that I support, in most cases to Reprieve ( ), a charity that campaigns against the death penalty that still exists in some parts of the world. It occurred to me that there is a poignancy about showing this particular collection at Bodmin Shire Hall, a former court-house where people have been condemned to death in the past and I want to acknowledge that by this donation.

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A project on the horizon in 2018

Every new year, for me,  starts with resolutions often linked to initial plans for projects. This year an artistic project on my horizon is a September 2018 exhibition at Bodmin Shire Hall. This will be my fourth show to be held there and the first since my recovery from the serious illness that dominated 2017 for me. Emerging from the shadow of cancer into a time of hope has already defined for me a central theme, that of reprieve, of being spared. The upcoming exhibition will no doubt revolve around wanting to communicate the joy of that experience in one way or another.

The collection will no doubt evolve over the next few months as new pieces are added and others perhaps are removed. All will be new since the last show I held at the Shire Hall in 2016. Here are some brief thoughts about two recent additions and links to their pages on my recently re-launched website:

Winter oak among houses and Houses among trees are both winter solstice light paintings inspired by aspects of my immediate neighbourhood here in St Columb Major in Cornwall.

 The first ( ), a vertical composition, uses the shapes of two adjoining houses and the  glorious image of a sunlit winter oak glimpsed beyond and between them to express something of the warmth of neighbourly feelings that I experience.

 The second ( ), takes this idea further in terms of a wider neighbourhood. In this case trees in particular provide enveloping forms that contain the houses.

As so often in my work it is the interaction of varied colours that is my true medium of expression, hopefully telling you something of the refreshed sense of wonder that is accompanying my recovery, my reprieve.

Both paintings are available at a 30% pre-exhibition discount until April. Click images or text links above for further details.