Exhibition pieces are building up…

Vaulen Badeplass Oil and gold on linen 80 x 100 cm.

So far, February 2020 has been very productive, the experimental stages in cold wax, thin oil and additives has gotten well into its stride. I’ve been driven by the idea that in a few weeks (April 24th) our studios will have many visitors and I’m determined not to disappoint.The theme is landscape and that is my work down to a tee.

This first painting for February 2020 uses layers of very thin oil paint, dry pigment, glazing medium, bronze medium and of course…gravity!

View this painting in the sale room

My curiosity for cold wax medium and oil continues to occupy my mind and time in the studio. I want to test it’s limits with things like dry pigment and bronze medium and have found varying results. I really enjoy the concept that layers are built up and can be returned to days after each other. Many CWM painters have no plan and let the painting paint itself. To some extent that is true for me although I aim for my work to continue the landscape theme and reflect my palette.

Letting go of this by changing the way I paint could be on the cards, it’ll be a conscious decision for me. I’m waiting until I have mastery of it from working purely with norwegian landscape in my mind.

CWM 5 a Norwegian Landscape, oil and cold wax medium on cradled panel 40 x 40 cm.
CWM 6 a Norwegian Landscape, oil and cold wax medium on cradled panel 40 x 40 cm.

Find CWM 5 in the Sale Room.

Find CWM 6 in the Sale Room.

…and finally, a merging of lessons learned.

Studio work in 2020 has really been about experimentation and trusting my knowledge of paint, pigment properties and interactions, the way mediums work and what effects additives make.

Deep down it felt like a huge leap away from the way I’ve traditionally painted and I enjoyed the feeling of abandoning that. Turning my back on this permanently left me feeling slightly uneasy. I like what I have done before and wondered if the cold wax medium and the really thin oil paintings may affect the path I’d been taking until the end of 2019. It’s kinda why I painted my little watercolour mentioned in the last post.

Rogaland started life as a very wet dripping transparently pigmented surface, I wanted to reclaim some light and overcome the heavy staining properties of a colour I’m enjoying; Indian Yellow. So, I started with thin mixes of the opaque. At times I lost my way with this one, the painting drastically changed on an hourly basis and not only surprised me but it surprised the other artists at Space 2. my dependancy on reference sketches and photos disappeared, I used paper 53, an ipad app to predict effects rather than load my canvas with what would turn into mud. This little bit of planning was invaluable and something I will use more of in future. I went from despondency at the end of day two, to a plan and accurate execution on day three.

I was a happy boy. The social media thing again, seems very mixed to my new work and I am aware less and less people seem to approve, maybe that’s a good thing? I won’t lose track of opinion but I’m not sure I can be influenced to paint any other way, and in that I’m privileged indeed.

View Rogaland in the Sale Room.

Rogaland. Oil on linen 80 x 100 cm
Rogaland mounted on the studio easel

This Post Has 2 Comments

  1. Yvonne Elliott

    I do admire your work

    1. John

      I always appreciate your support x

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