My Best Art 2018 (In my opinion)
As I start the new year, brush in hand, I am bursting with new ideas and itching to get creative and painting.
It’s at this time every year that I like to reflect back on my work from the past 12 months. Join me, as I ponder on the stand out artworks and what makes them so memorable for me, and for many of you.
As I narrowed it down to a just handful, I quickly realised that it is no coincidence that these pieces sold pretty quickly too.
If you fall in love with one (or more) of these artworks, I would be delighted to paint something similar for you as a commission. Any size is possible. Prints in various formats and sizes are available too.
Here are my 20 faves and why I love them (in no particular order).
When I was 16, nearly drowned in Italy. Thus, began my love/hate relationship with deep sea. I suppose, anything that prompts an extreme response will deliver some kind of inspiration, even fear. So, I'm drawn to painting seascapes. Trips to the seaside are my happiest childhood memories, and I love Blue Planet images and coral reef photographs. This piece captures the essence of that exhilarating yet terrifying feeling for me. The irridescent icy depths seem as if I've subconsciously viewed it from behind the safety of reinforced glass, which as close as I'm ever going to get. Yet still, I was thrilled to capture the submerged essence of a powerful, mighty ocean. It also conveys that it’s blooming cold in the Antarctics.
Late Summer Bloom
It is joyous and colourful and full of summer vibes. When I paint, I leave a certain amount of the background results to chance. I pour the washes and wait to see how they turn out the next day. On my return to the studio the next day, I gave a little whoop. I just love it when it works out so beautifully.
If I were not so terrified of being in deep water, I would love to snorkel Coral reefs. My husband has snorkeled many reefs and tells me that I’m missing out. I’ll take his word for it. So I face this fear, by painting my imagined interpretation of gloriously colourful corals. It also reminds me that we must seek to preserve these natural wonders. Without them, the world would be less beautiful.
It’s all about the middle section. Zoom in and take a look and you’ll see what I mean. The harmonious blending of vivid violet and awsome aqua. It makes my heart sing.
Moody, misty, mysterious. Just like the Scottish landscapes that this piece was inspired by. I love Scotland and dramatic landscapes. I live surround by the Peaks and Dales of Yorkshire. I feel that this is an understated yet complex piece. The colour palette keeps it simple, but the layering of paint washes gives it a multifaceted presence of a landscape that goes on and on, towards the vanishing.
This Scottish inspired landscape was painted in unison with Glen Frost. I love it for pretty much the same reasons as I do Glen Frost. Those Glens are just nothing but nature for miles and miles.
Glen Rose 2
I enjoyed painting Glen Frost and Glen Mist so much that I wanted to try another simple colour combination. At some point in the calendar, the heathers and wild flowers of the Moors rosey up. Coincidently, pinks and greys have been very popular this year as an interior design colour choice. It’s a timeless partnership because it just works. Combined with hints and flashes of old gold to remind us the sun is still shining down, there's both contrast and drama.
I’m a fan of pinks and aqua. a.k.a duck egg blue, eau de nil, teal, turquoise, sea green, sea foam…, the list goes on. There are so many names and variations within the bluey-green spectrum. The flower’s center was one of my ‘ooooh’ moments. I poured the pink washes and left them overnight to work their magic. And abracadabra, hey presto! The results were magical.
I am particularly fond of the way that the pink draws a saturated line of colour around a paler and softer core.
Wild Heather (Commission)
It’s a combination of things that appeal to me in this recent commission piece. I was asked to paint this wild heather inspired landscape on a square canvas. However, I would usually paint a landscape format. I guess that this appeals to me so much because the client got me to break my rhythm. This is often a really positive thing to do. I painted a box, outside my box, kinda thing. It certainly ticks my box. So, thank you to my client (you know who you are) for the request.
This appeals to the ‘graphic designer’ in me. I can't resist a bit of asimmetrical meddling with geometrical shapes, lines and dots, that repeat. The pinky purple wash adds a touch of randomness, which dilutes and softens all those forms and hard edges.
Not an easy to spell or pronounce title. It’s a cross between colour and collaboration (sorry if I have just pointed out the blooming obvious). I love the way the paints melt into the center of the abstract piece and spill over with gay abandon from their uniform boxes. Those rebellious colours, there's no controlling them! Thank goodness.
I love to work large and with heavy texture. This artwork was 2.5 m wide and had a rough, course texture. This type of surface is fabulous at holding pools of deep saturated colour. When I work on such pieces, I pour washes of colour and marvel at the way that the paint travels through the textured lines, pusuing its own path across the painting. I am just the paint starter.
The Mighty Ocean commission
This seascape commission just looks so darn perfect in its setting. It’s a real pleasure to receive a client photo like this. It makes all that effort worthwhile. I opened the email to find this beautiful insitu pic and actually felt a bit giddy.
To be prefectly honest, I have no idea why this piece made the list. I have tried to anaylise my thoughts and the painting process. I can’t even remember specifc details about painting this floral artwork. I must have slept-painted it at night.
I am a massive Caravaggio fan. The man was a vile human being, but boy could he paint. His work is renown for light and shade. Chiaroscuro. It’s not just in paintings that this technique appeals to me. I love it when film directors use contrasting light creatively too.This little floral abstract has a touch of chiaroscuro don’t ya think?
I sometimes like things just because they are a lovely colour combination. This is that piece. It was so shiny too!
Volcanic landscapes with their everchanging texture. There is an air of mystery to this painting. I cannot for the life of me recall how I created this texture. It just sort of erupted out of me. Sometimes, this method of working gets the best results.
The secret of the art remains… well, a secret. The best paintings are those that draws the response'
"How on Earth did they do that?"
Sun on Sea
It’s just a colour thing. Aqua, it’s my fave of all colours. I use it a lot.
You may have noticed.
My Garden tree
I had so much fun painting this tree. I tried a few experimental techniques and it all just sort of worked. I often experiment. Can't stop myself. But, more often than not, it does not go according to plan. I end up with a piece that looks like something that even my dog would reject for dinner. This was not one of those times. It's believed that artist Mark Rothko painted literally 1000s of paintings. We've only ever seen a few hundred. Maybe he hid the dog's dinners. :)
Tree of fairies
Purple and gold. Just a sublime combo. I felt that this mini tree (canvas size 20x20cm) was cute. Well, that’s a good enough reason as any isn’t it?
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