This is the working title of my latest painting, also a previous blog post from just over a year ago. The experience and sketch I referred to in that short post inspired this version, supported by further recent observations, sketches, photos and reflection in the same nearby location; the dyke along the banks of the River Forth. This dyke keeps the ancient tidal marsh as fields, for now, the closest thing to polders that I’ve seen here.
As before, I have used a smaller primed board to test colours, marks and ideas before committing to the main canvas, resulting in a second painting alongside it. It serves as a sort of play area, a “doesn’t matter ” space in which I find it easier to relinquish the attempt to over-control my painting.. steps in development. I don’t mean to imply that I am avoiding improving my technical use of the paint, I’m working on this in small steps as I learn and watch others too; whether you are seeing this in my work is less certain.. what do you think? Let me know in the comments.
This is a special time of year for me, a time of memories and often changes too. This time that has included losing two friends of fairly recent acquaintance but deep connection; the reality of impermanence and uncertainty hits home, stripping away complacency, revealing attachments, reminding me of what is really important.
So now I let this one rest and cure (oils dont really “dry” in the way that, say, watercolours do) and begin to look through my sketchbooks and photos for ideas for the next painting. My focus is on landscapes at present, there is an open exhibition I have in mind to submit work to in the Spring and they need time to harden enough for framing.
Walking to the bus, earlier today, I noticed the contrast between the advance of Autumn, accelerating now as the trees let go their gold-brown-yellow burdens of leaves and days shorten, and the air temperature, which is still very mild. The shorter days leave me with a feeling of greater urgency to seize any opportunities to be outside but also to paint, a conflict I have not yet really resolved.
More soon. Best wishes and thank you for visiting.
Upstairs, the soft scent of water-mixable oil paint on canvas…. after a gap, I’ve started a new painting. Images and perhaps more to follow in a while. Meantime, I finished one sketchbook and started a new one..
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I have been looking at these splendid harvest fields for a while, over the last few years I’ve been in this area. This part of the Forth valley has a lot of large arable fields, any old hedges that may have been there are long gone and they are ploughed, planted and sprayed right up to the edges, little or no “headlands” of uncultivated ground left for wildflowers to grow in and provide a modicum of refuge and food for insects. The main crops seem to be various grains – wheat, oats, possibly some barley – and rapeseed or similar oil-seed plants. The fields appear to be intensively cultivated, though hay is grown and gathered into these impressive and slightly surreal-looking cylinders that have been a feature of UK farming for many years now. They ripen into vibrant, vast areas of rich golds of varying hues and textures, depending on the forms of the various crops, with darker lines that emphasise the form of the land, tracks of huge tractors and baling machines, then the harvesting machinery.
In my walks and cycle rides around here, I’ve also been struck by the ambiguous beauty of the Grangemouth refineries (Ineos, I think, is the company that operates them). They are responsible for both providing the necessary fuel, fertilizers and other agrochemicals for our present agriculture, significant local employment and for a lot of hazards and pollution of the local and wider environment. Flares are regularly to be seen, occasionally huge rolling flames and sooty fumes, following, I’m told, emergency pressure relief procedures. I understand that the company is fined on a fairly regular basis for these releases of gas, though I’ve seen and heard no sign of meaningful remedial action. As with many things, the situation has many facets.
Large-scale engineering, ships and industrial buildings have always fascinated me; there is an element of the frustrated engineer in me for sure, I was never able to get to grips with the mathematics. Far from finding them “ugly” in the conventional sense, I often see the moments of beauty and subtlety in them, especially in certain light and weather conditions. A long time ago, in what feels like another lifetime, I remember glimpsing the huge cement works at Chelson Meadows in Plymouth, Devon, on an early morning drive. It appeared as a vast castle, in blocks of pale grey and pink, in the morning misty sunlight. I made several drawings of it, to the puzzlement of several people who asked me “why are you drawing that eyesore?” That works is long-demolished, the ground landscaped, I believe, and perhaps my drawing is now a historical document of sorts, but this is a digression.
On a cycle ride along a path into the woods near Skinflats, I stumbled across an art installation called “Inscriptions in Arcadia”, by Audrey Grant, very nearly and inadvertently stealing part of one of the works … until I saw the sign! The theme of the installation intrigued me and resonated with some of the thoughts that had arisen, back in 2019, when I had looked out over ripening summer fields towards Grangemouth:
“Black Gold – in our myopic ignorance we burn this, mostly, the stored solar energy of ancient Earth feeds our industry, ..engines, ..our restless desire for movement & the illusion of a limited, short term freedom, while we poison our air & water & are still blind to its true value as a raw material.
“Green Gold – growing silently in the summer sun, welcoming the rain that we bemoan, refreshing our atmosphere, filtering our dust and detritus, feeding our restless, dissatisfied bodies and minds…”
Sketchbook 31 – 14 July 2019
This painting has emerged from these notes and subsequent observations, pulled together with the idea of an Arcadia, an imagined idyllic land but that is still touched, if not tainted, by destructive and harmful processes. I had not been aware, until a comment on my previous post, of the more classical associations:
Et in Arcadia Ego Even in a pastoral idyll, there is death.
This is not a specific view but a combination of local elements from several sketches, photos and observations. When approaching the painting, I wanted to focus on my initial visual experience of the vivid yellows and golds and of the softer reflections and uncertain forms from across the estuary, aware of darker and more contradictory processes behind it all. As with all these paintings, I feel I’m learning and discovering at each step; I’ve certainly enjoyed painting it.
Thank you for reading this far! What’s next? I’m not yet sure, I have unrelated videos to attend to …. however, I hope to start another soon.
I’ve just added the new works to the Oil Paintings page, link at the top of this page.
Now for a short stroll in the fresh air, moody overcast hanging like a dark ceiling over the Ochil hills to the north while the wind snatches bright leaves off the branches; the birds haven’t given up singing though, which is encouraging.
For the last few months my creative energy has been directed into video editing as I begin to set up a YouTube channel and produce material for an online course for beginners in navigation and map-reading. I have ideas for another, arts-focused, channel but that is for later.
This has, inevitably, reduced the time and energy left for sketching and painting but, for now, that’s ok.
Still, it was good, yesterday morning, to ride out into the fresh, bright air and make a small sketch of the ruined Kennetpans distillery, near Kincardine on the River Forth. Pigment ink pen (Uni pin) and Inktense pencils, plus a water brush – now among my favourite field sketching tools and media.
I will be glad of the Easter break, when I do plan to squeeze fresh oil paint onto the palette and rediscover the joyful, and committing, feeling of spreading the first marks on a new board or canvas. Perhaps I’ll leave a camera running…
It’s been a productive day, better weather than yesterday and a chance to get outside in my local area and practice more plein air painting, sketching in oils (water mixable) on a small board.
My focus at present is on getting accustomed to the ergonomics of my portable painting setup and on loosening up my painting in a more energetic and playful spirit , letting go of the restrictive urge to try to produce perfection that has so often tightened up my paintings and driven me to over-work them.
I’m quite pleased with today’s effort. I overcame my Sunday inertia to get out and paint, dealt with a passing rain shower, as well as cold hands and an uncomfortable seat. I set myself an hour and kept to that limit.
This little stand of Birches and Bracken caught my eye in the warm afternoon sunlight and chilly south westerly breeze. I’ve always been drawn to the way the whitish bark contrasts against the darkness of other trees, the warm leaf colours defying both the shortening days and the efforts of the wind to dislodge them, holding on against the approaching winter.
Is it too late to wish you a Happy New Year? Probably, especially as the harsh realities of national and international events loom large in our attentions, nevertheless, if this is the first visit you are making here since Hogmanay then I send you good wishes for health, happiness and genuine wealth of the kind that cannot be stolen..
I am becoming very busy with non-art matters, to do with work and starting the steps to making a change to an area of paid activity to which I wish to return in order to feel inspired rather than required. This is, naturally, slowing my art productivity but is essential to it; I have found over the years that I need to feel able to relax and have my basic needs met in order to experience the artistic urge. I do not resent this shift of focus, it is both necessary and in any case enjoyable in its own right, though my fingers twitch when I see art that I like.
My exploration of oil paints continues, at least with the more practically usable water-mixable oils. I like the medium. I have continued with the painting I began in my last post, back in December I think, and have, more or less, finished it. I’m happy with this one, at the moment anyway. I’ll let it settle for a bit before deciding whether it’s ready to sign and find a name for.
This photo’s not the best, the light wasn’t good and the lamp makes reflections off the brushstrokes, but you can get the gist of it. It comes from a moment of clearing clouds on a windy, dramatic day on Ben Vorlich, the western one on the edge of the Arrochar Alps, at the north end of Loch Lomond, back in the Autumn. I went up with a friend to whom I am grateful for revealing this superb mountain. The canvas is roughly 35 by 25cm, canvas on board, a nice surface to paint on.
I have other photos from that day to use as starting points for paintings, also from more recent, subsequent hill days, inspired by moments of light on dark, contrasts, shapes of sunlit land or water and cloud. And the snow and ice are returning, while the days begin to lengthen.
Among the benefits of cycling to work is the ability to stop and enjoy the splendid views around here, be they of the mountains or a small plant or insect. Unencumbered by a car for which to find a parking space, I can pull over and take photos or make sketches fairly spontaneously; time and weather are the only limitations.
From both of my main routes into Stirling, the mound of the Castle and old city seems to mimic the near/distant forms of the mountains beyond; Stuc a Chroin, Ben Vorlich and, left and west, Ben Ledi and Ben Venue, all fine summits that lead into further glorious vistas, space defined by forms.
I stopped here yesterday afternoon, in strong wind and bright sunshine after morning rain and cloud, sketched while holding the pages of the book still. A mile of so further on, I gathered a perfect giant puffball mushroom which has made two delicious meals, the first time I’ve tried this wonderful fungus; harvesting earth.
No spores, perfect!
Fried, dipped in egg and seasoned flour, fried again.. delicious! Bon appetit!
The fields are full of gold which the farmers are steadily gathering in, grains of various kinds and hay for silage. Above and behind, the wind is gathered and turned into electricity. The harvest of sun and wind. It is stirring ideas for some painting in due course.
It’s been a slow, overcast, misty day, damp and good for indoor things.
I went outside though, down to the great river… a quick sketch before returning with the rich scents of mud, water, wet grass and wild roses filling my mind while Cormorants hung out their wings to dry in the humid air, high above the low-tide water on a navigation marker.
An afternoon of words, with echoing visual and olfactory impressions in the back of my mind and a background hum of contentment over having achieved one sketch today.
Yesterday late afternoon, after a successful trip to get a new expedition rucksack to replace my old worn-out pack, I decided on a quick walk up onto the edge of the Ochil Hills through the deep and atmospheric Alva Glen. Previously I’d left the woodland by a path that leads up onto open hillsides and a steady ascent to the ridges above. This time I decided to turn left and follow the path further up the glen itself; gorge is really a better term.
The path becomes precipitous, in these lower and more popular parts there is a sturdy fence to prevent a fall into the deep gorge below, hissing with concealed waterfalls in deep channels with occasional huge rounded boulders that indicate a period of immensely powerful spate, probably resulting from the collapse of lakes forming above behind ice walls as the Ice Age gave way to a warmer climate. Many of the trees here struggle up against vertical rock, exposed roots enlarged and contorted by long gripping the cracks and edges in their upward growth; long, arthritic twisting limbs supporting trunks with dramatic shapes, reaching for the narrow band of sky.
I emerged from the forested section onto a rougher, rockier path around a tall spur and pinnacle. As I reached the top, I saw the dark overhang of the so-called smugglers’ cave below me, where the hard lavas had resisted the water and only given way in a grudging compromise with a thin, dark channel for the water that had scooped out a cave-like section. Climbing beyond on steadily narrower paths on a steep slope, I kept an eye out for future small camping spots, mindful of the occasional undercut soil and fragile nature of the path.
The gorge continues, with at least one hanging valley discharging a tall and lovely waterfall into another wooded and atmospheric bowl on the eastern side. I saw this as I climbed up the western slope through short-grazed bilberry plants and, a welcome change from bracken, well-established ferns and heather. I had to choose whether to stop and sketch, my original aim, or press on to reach the head of the glen; I chose to sketch before returning.
Evening cool was setting in and I wanted to get back in reasonable time before sunset so the studies were quick. I enjoyed the process and think I’ve captured something of the feel of the view there. My phone battery was too low to take photos so I spent some time just looking, letting go as best I could of the concepts that kept popping into my mind and that I find interfere with clear perception and inspiration. I don’t think I had much success but the practice is the thing.
sepia pencil and water-soluble pencil
Later, at home, looking back through my landscape sketchbook, I found these from a bigger day on Ben More and Stob Binnein in the snow back in March, when I found a sheltered snow seat on the south side of the summit of Stob Binnein and made some quick studies in water-soluble Inktense pencils, tried to add a wash and found the water freezing in the brush despite the bright sunlight.
Looking SE from Stob Binnein – Ben Vorlich and Stuc a Chroin
Ochil Hills – walking to Rough Castle Roman fort.
A few days earlier, I’d taken a walk from my flat in Falkirk to the old Roman fort known as Rough Castle, a major encampment on the Antonine Wall. The snow remained on the hills, no longer keeping us off work, but the clouds were low, the hills hints of different tones. Then the clouds made gaps and the hills revealed themselves briefly, partly camouflaged by their snowy coat.
There are a lot of full berries growing on the Rowan trees, some say that is a sign of a hard winter to come. I’m looking at a new pair of winter mountain boots, a purchase for the Autumn, more comfortable than my present ones and better for arduous winter days and icy slopes.
In the meantime I’m also looking again at my sketching and painting equipment, at ways of making it more efficient and easy to use on the hills, lightweight and fitting the practical demands of being outdoors in what may be poor conditions. I’m looking back at the studies I made in acrylic on brown card last year during a trip to Mull. I’d like to do more like that but am still getting the hang of dealing with paint, water, slow drying in damp air and the rigors of a box squashed into a rucksack. Work in progress.