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Three decidedly diverse landscapes

Three decidedly diverse landscapes

I’m working flat out at the moment for my up-coming solo exhibition, and although it won’t be very, too, much, any, really, actually, erotic, I’m enjoying putting a selection of my artwork together to show the viewing public (or anyone who turns up, really!) what I can do of a non erotic nature.  Which is very well illustrated by the three landscapes here!  A watercolour, a pastel, and one in acrylics. A church, a seascape, a fantasy landscape. Still, who wants to keep doing the same sort of thing all the time? I certainly don’t.

The first one is of the church in the village where the exhibition is to be held. Its a quaint little church that looks like something out of Grimms fairy tales with its skirted little steeple and aged stone walls. I love the fact that the tiles are rounded disks of slate as well. It was really difficult to photograph though, as its surrounded by trees, and to get a decent shot I had to virtually stand in the middle of a large bush to get the image I wanted showing the church in its complete state rather than just a glimpse of the steeple, or door, or roof, through the very well established greenery around it. I enjoyed painting this little church sitting in the morning sunlight and the wonky gravestones that depict the villagers lives and deaths going back many a long year. It’s called simply “Ravenstone church” and the watercolours have captured that English picturesque building beautifully.  

 

 

 

 

 My second painting couldn’t be further from it in subject matter.

It’s a pastel, and features my favourite shades of turquoise and blues in a seascape that is basically about a wave, as it lazily laps against a sandy shore, the light through it as it gently flows over the sand, shallow and clear, and fades away to deepest cobalt blue and the far distant purple hills across the bay. The pure white of the largest cloud mirrors the white of the foamy wave, both travelling across the picture in opposite directions but creating the movement within the picture. I know that I, for one, want to dip my toes in that sea, I want to swim in those warm waters, and walk along that stretch of beach looking out at that languid ocean. The painting is called “Blue lagoon” and its making me think of summer holidays in far off climes way below the equator.

 

 And now to the third landscape, and different again……

  This one is in acrylics also on paper, like the other two, but done with far more urgency of movement in the marks on the paper, more colour, more of a fantasy scene, with more vibrancy, that keeps the eyes moving over the paper looking for the images and colours and far more exciting than the quietness of the other two paintings. But, even so, there is a feeling of belonging in this painting which is why I called it “Heading home” – whether that feeling of home is the rolling hills and trees of the scene, or the feeling of having had a walk and being now ready to turn for home.  The three trees have a unity within the work too, that I love.

So, all landscapes, all done by me.

And all so totally different to each other.

But, which is your favourite here?

Peaceful churchyard, manic hills, or seductive seascape?

I've been an artist all of my life, and my paintings now hang on walls in Europe, USA and Canada. I'm working on getting them on the other continents! My wide range of artwork has been exhibited nearer to home in the East Midlands, with the Guild of Erotic Artists at Beaumont Hall Studios in Hertfordshire, and at "Erotica", Olympia, London. I have also been featured alongside my work in the Guild of Erotic Artists book (volume 2). I love to create dramatic interest in my pictures, whether it’s to paint an unusual landscape, or just to utilise dramatic lighting in my figure drawings or strong colour in my animal portraits. Delighting in the spontaneous tendencies of watercolour adds an interesting and distinctive look to my paintings, some of which are purposefully ambiguous, enabling the viewer to use their own interpretation of my artwork. I also love to hide images, and humour within my paintings, whether it’s a secret message, or an erotic couple hidden within a landscape, or even an erotic landscape where the couple are camouflaged as the features of the land itself. I am equally happy painting in oils, acrylics or watercolours and love to draw with pencil or ink. I have also developed the very effective method of drawing using white pencil on black card which creates dramatic pictures by just picking out where the light catches the body and leaving the rest of the image to the imagination, in darkness. I can also utilise many different styles, whether it is realistic, abstract, surrealistic, erotic, fantasy or camouflage art where something is hidden within the painting. I'm just passionate about my art, whatever I paint! But, it doesn't matter how many landscapes or pet portraits I paint, its always the erotic stuff that people are interested in! I started blogging to share some of the strange conversations I have with the people I meet. But its evolved into far more than that now.

Comments (2)

  1. Hardin Reddy
    May 24, 2012

    I’ve seen many buildings like the church, with interesting architecture that is difficult to appreciate because appropriate vantage points aren’t available. The more formal view would be from the front, but it might be disappointing from a composition standpoint as the steeple would dominate, most likely leaving a lot of blank sky in the upper corners. I find this composition more pleasing, not only because it fits better in the rectangular frame, but also because it ties the history of this ancient town (coming from America, all English towns seem ancient to me) into the photo. I can imagine the townspeople whose significant life events, like baptism and marriage, took place in that building, and are now buried beneath those tombstones.

    The seascape is simple, charming and inviting. It reminds me very much of Hawaii, away from the most touristy beaches. I can almost hear the rhythmic lap of the gentle waves on the sand.

    Yes, the third painting is quite different, filled with blustery energy and uncertainty. From the colours used, it strikes me as a clearing late fall storm that left an inch or two of snow on the ground. It’s interesting to me that there’s no obvious path into the seeming wilderness; the viewer is left to contemplate his/her own way of conquering it.

    So, of the three, I like the seascape the best. Does that reflect my personal preferences? I think it does!

  2. May 28, 2012

    Hardin – thanks for your full, frank, and very informative indepth reply to the three diverse landscapes in different styles, and with such differing subject matter.

    I agree with you regarding the church composition. I walked all around this ancient church before deciding on this viewpoint, and although the view at the rear of the church was an easier composition (that didn’t require me to actually stand in the middle of a bush to take the photos of it! ) I still opted for the view from the front, since this is the familiar view that most people see of it as they approach it. Painting most of the length of it made it an interesting diagonal composition more so than just the vertical tower and steeple which, as you so rightly say, would just show a lot of sky and much less of the aged building. And, by the way, all towns in England ARE ancient with the strange exception of Milton Keynes………

    I love your description of blustery energy for the third painting, and certainly the use of oranges against the blues is reminiscent of autumnal (Fall) weather.

    But, the seascape is the most alluring of the paintings I agree. It’s got a lot of appeal in it, and is very inviting. So, we know you’re less likely to want to walk around a quiet country churchyard, or along a windswept hillside than walk along a sunkissed sandy beach with the gentle waves lapping the shore. And who can blame you! 🙂

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