No, I don't have a fear of dogs!
But I do have a fear of failure.
I think most artists do, and when you are a risk taker the two don't really make for a comfortable journey, though the destination can be quite breathtaking (pass the defribulator!)
Those that know me will appreciate my inability to say 'no', and find the scrapes that it has got me into quite hilarious! (Remember The Big Painting Challenge?)
So, when the SAA asked me to run a live and in-house workshop the following year, I mulled it over for all of 60 seconds and agreed. The full weight of what I had agreed to did not hit me until the beginning of the actual year that I was to deliver the workshop to eager participants who actually wanted to learn something from me! 
Much panicking, organising, practicing, note taking, excel spreadsheet typing later, (it was that bad!), I rucked up at SAA Headquarters to see where my 'victims' would be receiving me.
Having run workshops for a maximum of 8 people from my humble studio at home I was ever so slightly traumatised by rows and rows of desks neatly laid out with all that was required to paint 'Bonnie' The Wonderdog!
I had a quick run through with the days events with 'Gary The Cameraman' which included bunging him a fiver to get my 'best side', and shook hands with as many people as I could find - I may need them to give me mouth to mouth later and it's good to make an impression!
The room soon filled with eager artists awaiting my tutelage so with a few deep breaths and a chat with them all Gary signalled that we were going live in 5....4....3....2.....1.....

We were off!
A quick warm up followed by much silent concentration (reminder to self : bring some lovely background music next time) I needn't have worried! 
Once in full swing I forgot about everything but what I was there for, and made sure that everyone painting along was comfortable with what they were doing. The experience of the participants ranged from complete beginner, acrylic virgins, to regular art club members and their final results blew me away!
It never ceases to amaze me how different everyones interpretation of the original reference photo is. All unique and all have their own charm. I would have loved to take them all home!
I also had some lovely emails waiting for me when I got home from some of the artists too thankfully saying they learnt loads and had a great time! Job done!!

So what did I learn from the experience?
Step out of your comfort zone in order to grow.
Face your fears and leave them behind you as you continue your journey.
Take every opportunity you are given to further your experience
Take each and every minute of every day to be thankful for where you are.
People are not scarey monsters if you shake their hand and take the time to know them.
Each opportunity leads to another if you have the courage to take it.
Hard work = good results = a justification for a large glass of gin!
And there endeth the lesson for today!

Take a look at these amazing 'Bonnie' portraits! Thanks must go to Sarah Blyth, owner of Bonnie, who so generously allows me to peddle her dog shamelessly!

Being an Acrylic artist I have become increasingly concerned about my impact on the environment and as Acrylic paint is in essence plastic, the disposal of any residue is something that I wanted to try and do safely.
I have researched the following methods and am practising the Cat Litter method in my studio.
If you have any other methods for safely disposing of Acrylic paint I would be interested to hear from you. This is a topic that is not going away and should be a concern for anyone using this wonderful medium.
It is worth noting at this point that with any of the methods shared below, the amount of water that you use in your brush cleaning jar, and/or paint mixing jar should be limited to 2”.
In all instances, artists should wipe their brushes and palettes on paper towels and rags before rinsing in the water to reduce the amount of water used. All brushes can be cleaned in 2” of warm water with Conditioning Soap and then rinsed out in 2” of cold water, then dried on kitchen towel. These paper towels will be put in the bin for proper disposal in the landfill. 

Pigment Disposal Process
This method of filtering is recommended by Golden, a leading manufacturer of Acrylic paint. There is a link to a Youtube video in the title that shows this method of extraction.
This process uses a chemical reaction called flocculation to separate the water and the pigment.
Once the clear water is skimmed off the top, the pigment is filtered and the filter is disposed of in the trash. This process cannot be used with toxic paints.
It uses common garden chemicals which are hazardous so read label precautions.
Gloves should always be worn! 

Method:

1. Dump your waste water into the 5 gallon container in the studio filling it to either the one or 2.5 gallon level. 2.5 gallons is the maximum that can be processed in the 5 gallon container. 
2. Using the glass jar, mix the proper amount of aluminum sulphate into the jar, add a few ounces of clean water and mix thoroughly. For one gallon, use a well-rounded half Tablespoon. For 2.5 gallons of water, measure 1.5 Tablespoons. Pour into the waste water and stir vigorously with a wood paint stick. 
3. Add the proper amount of powdered lime and stir vigorously. For one gallon, this is a scant 3⁄4 Tablespoon. For 2.5 gallons of water, measure 1 3⁄4 Tablespoon lime. 
4. Within a few minutes, flocculation of the solids should begin to occur. You should start to see a clear layer of water forming very quickly as the solids settle to the bottom. If, after several minutes, flocculation has not occurred, repeat steps 2 and 3. 
5. After the solids have settled, scoop off as much of the clear water as you can, using the pitcher, and pour it down the drain or outside. 
6. Assemble the filtering equipment as follows: Place TWO coffee filters in the metal funnel and put them over another empty 5 gallon container. Pour the remaining dirty water onto the filters after flocculation has occurred. After the dirty water has been poured through the filters, the water in the 5 gallon container should be clear. If it is not, pour less into the filters in steps and let it filter through before adding more dirty water. 
7. Place the used filters into the garbage can with the other waste going to the Landfill. The clean water in the 5 gallon container can now be poured outside on the ground or down the sinks. 

Cat litter method

• Fill a bucket with non clumping cat litter
• Pour wastewater into the litter and wait for the solid acrylic particles to be absorbed
• When the litter has reached absorbent capacity Dispose of litter as Landfill Waste method (Black bin liners).

 
Sand Method
This is pertinent if you use a lot of waste water in your artistic process or maybe belong to an art community or shared space. 
It also relies on access to sun as the heat from the sun will evaporate the water.
It is important to remember to limit your brush cleaning water to 2” in a jar. Any more than this will render this method of filtering obsolete as it relies on the water evaporating from the sand .

• You will need a large container (e.g. an old oil drum) with sand in.
• Make a small ‘well’ in the top of the sand – this is where you pour your water
• Pour your waste water into the ‘well’ and turn over the top of the sand making sure you make another ‘well’ for the next user.
• Stand the container of sand in the sun with the lid off for at least 6 hrs a day.
• Make sure the lid is put back on at the end of the day, or if it is raining! 

Over time (this method will keep viable for years and years) the amount of acrylic particles in the sand mixture will be such that you could use it to make a sculpture – just mix with the right amount of concrete mix and voila!!
 
Solo Artists not using much wastewater
If you do not use enough water in your acrylic artwork (if you practice the ‘Pouring’ method of acrylics for example, then you could absorb the acrylic paint using old rags and paper towels and dispose of it with the normal household waste.
 
Any washing down of equipment however, should also avoid any acrylic particles getting into the water system, so one of the above methods should be used for that purpose.
 
If you use Acrylic paint let me know how you dispose of your wastewater.
Do you just put it down the sink or do you worry about environmental impact?
Do you have another method of disposal?
I would love to hear from you.

What makes you excited? Gives you a buzz? A rush?
For me it's horse racing.
I can't say I am a punter - that always ends in disappointment. But the thrill of the chase pumped up by the gradual crescendo of the commentator as they near the finish line fills me with adrenalin. The horse lover in me is always mindful of what the actual horses are getting out of it, but as my brother (equine surgeon and one time jockey) informs me, if they didn't want to do it they just wouldn't. Having a horse myself I know that if another horse is playing up of galloping around it's field while I am trying to school her, the effort required just to get her to listen is exhausting! It's a pack thing! One goes, they all go!
And so it is with that knowledge that I allow myself to be immersed in the thrill of the chase. Of course for me it is not just about the race itself but the visual spectacle that turns me on. The colours of the silks, the movement of the horse, the partnership of horse and rider. These things and more are what have compelled me to try and capture some of that energy onto canvas.
I have just finished a three part series of paintings - all 30x30cms that will be exhibited at The Bear Steps Gallery in the Spring. They may even get their first outing at the Macclesfield Open at the Town Hall in March.
My aim for this series was to use colour and mark to represent speed and energy, and a continuation of my pursuit of capturing animals in motion and exploring the relationship between animals and humans.

It's funny how one's tastes and styles develop and change.
A bit like travelling on a journey to a destination as yet unknown, but taking in everything along the way. Some things you like (probably the food in my case - oh and the wine), some things you don't (cold dull weather and extreme heat?). Immersing yourself in every minute of every day can be exhausting but if you allow yourself to take in the good stuff, the new and exciting seeds of ideas and then explore them it can lead to somewhere you only dreamt of.
And so it was with my last painting that I put on my brave pants and started this 60x60cm canvas. It actually already had a painting on it. It was one of the paintings that I started on Gerry Dudgeons course in the summer....here it is at the stage where I left it - actually hid in the corner of the studio.

Lesson learnt!
If you don't like where you are have the courage to change it! And value the journey for that is where the lessons are learnt...that's all folks! As you were :) 

Having completed 'Our Worlds Collide' and thoroughly enjoying working with colour again after Christmas commissions, I decided to revisit the work that I started whilst on the course last summer with Gerry Dudgeon at Coombe Farm Studios.
It amazed me that after really struggling with it and putting it away for six months, how easily it all came together in the end. 
This was painted from sketches taken on a day sat in a beautiful garden that had the most breathtaking views across the Devonshire hills. The colours were heightened through observing the underlying hues and saturating them for my own pleasure.
I hope you like them! These and more new work will be exhibited 22-24th March in Macclesfield Town Hall, and again in April at The Bear Steps in Shrewsbury - subject to them being sold!

I find that life is about contrasts and the good times are always appreciated that much more if there have been some serious lows.
This painting for me is the narrative of that theory. I have been working with this painting for over a year and during the time it has been on and off my easel it has been through some pretty drastic changes. Friends that saw it through it's various stages have raised an eyebrow, looked concerned, sent me self help links and generally looked out for me!
I on the other hand have been frustrated, fed up, confused and finally relieved that it all finally made some sort of sense. 
I have been striving for a looser and more let's say, abstract handwriting but it is hard to achieve that without having to tick a lot of boxes along the way.
Drawing is the foundation of all good art. Fact. I can't be bothered to argue with anyone that doesn't think this is the case so don't waste your breath. It is my opinion, and that of a lot of other artists that I admire.
​So I have been strict about practising and honing my observation skills. This is of course a daily habit and there is always something else to improve on, but I feel I have really worked hard on this particular aspect of my development - and will continue to do so.
Colour is something that I am obviously drawn to and I have studied colour theory and have a rough grasp of the do's and don'ts so wanted to see if I could put this into practice in a. larger piece of work.
Abstract however is a whole other kettle of fish! It has been one of the hardest things to try and develop! When you are so used to dealing with getting a likeness it is hard to let go and try to represent the 'essence', 'emotion', 'shape' or suggestion of form. A workshop led by the totally abstract Gerry Dudgeon and then day painting with the wonderfully expressive Lesley Humphrey taught me a lot!
So that is why this painting started out as a straight representation of a dressage horse and then went through many different identities including a black canvas at one point, to then come through like a phoenix form the flames and become my first painting of 2019!
Happy New Year to you all and I hope that it is a happy, healthy, challenging (in a good way), and prosperous one for you all! 
Thanks for following me along the way 

......or, 10 ways to avoid a polystyrene cup of loose change!
I think it’s time for an chat with myself. I have to be honest, this year hasn’t been easy.
As I sit in my studio typing this, I am surrounded on all sides by paintings that I have started, reworked, abandoned, finished but not sold, plus a few blank canvases.
Piles of sketchbooks half started, (or half-finished depending on your point of view), Mounts, Paper (watercolour, pastel, oil!) Notebooks, copies of ‘Artists and Illustrator’ as yet unread, Design files, books, paint (oil and acrylic) pastels, pencils, pots, easels. If I drop dead tomorrow I pity the poor soul that has to clear my studio! It’s a mess. And I think a physical metaphor for my creative and restless brain.
Not concentrating on one thing long enough to perfect it, wanting to try everything, and try it NOW! I am throwing ideas and mediums at various substrates and hoping that it sticks in the quest to find MY voice that I hear calling from far far away.
Is it just me?
I have recently spent four worrying weeks in a state of creative paralysis too scared to pick up anything that could ‘make a mark’ and it was so frustrating and ever so slightly worrying. 
I felt I had lost my mojo. But I know I’m not alone.  Almost all artists I know have a period of creative block.
But it was making me panic!
I worried that I was not as good as I wanted to be, so instead of applying myself to practice and get better and the thing I want and need to improve, I watched Youtube videos and spend an unfathomable amount of time I don’t have, on Pinterest!
This then made me worry that I am no good which sent me into a spiral of self-doubt which then needed feeding with new materials, new stuff so I could try this and that out!
"Aaaaaaaargh!"
To top it off I seem to be incapable of building on the foundations of success!
Every time I do something that get’s a good response, I never do it again!
Why?
What is wrong with me?
Please tell me I’m not the only one!
So the conversation I am having with myself in the mirror right now, is ‘how do I, a ‘Creative Professional’ who finds themselves in a dark place devoid of inspiration and the will to just do something, get back to work? – in a productive, enjoyable and profitable way?’
The problem feels a bit like a hike up Everest, so I need to break it down into boulders and then pebbles. I am a big believer in baby steps being an easy way to making a difference, and whilst it may not feel like one is moving forward, if you look back after just a few days of achieving small tasks you will see things starting to change.
Just change one small thing. 
So, a plan, a goal, a step by step list of daily tasks is what I need to get me going!
 
First I ask myself three questions:
 
What am I hoping to achieve?
Financial independence would be nice! And the ability to switch a light on in a room, and walk out to get something without hearing “Turn that bloody light off! It’s costing a fortune!”

What do I want to say?
What is the point of my art - who am I talking to and what is the dialogue?

What is stopping me?
Self belief and the pressure to make it happen – there will be sacrifices!
How can I make it happen? – Turn it into a task list! AND STICK TO IT!!!
 
My problem is that I am not applying the same rules and methods to my artist life that I did in my professional managerial (and salaried) life! I know this is a situation that has to change if I am to stay clothed, fed and housed and married! 
 
So my goal is to actually make my art pay in 2019. 
Don’t laugh! 
If it isn’t then I may as well give up! 
After 10 years of making art I need to be showing some sort of point to it all and after seeing my savings dwindle to a big fat zero, and so this year is make or break. I know I am not alone. Many of my artist peers have had to ditch the canvas for the sake of a regular income. I have had to feed my passion with freelance design work or I would have ended up sleeping in the woods with *Oscar! 

And he would NOT have been happy about losing his home comforts!
The public feeling of uncertainty and fear over what will happen to their personal ability to ride the wave of upheaval with all that is Brexit is, I am convinced part of the reason why so many artists have seen their sales fall this year. People view art as a luxury – a nice to have. So MY Art needs a purpose. 
 
To have any chance of making this happen I need to address the following: 
 


​Prices
I have not raised my prices for ten years!
My cost to make ‘v’ selling price factoring in any costs to me – e.g. fuel, overheads, materials
Previously I based my prices on the marketplace and what similar art was selling for. Whilst this is a sensible and arguably the right approach, when attending art fairs and exhibitions the price of actually being there was not considered sometimes leaving me out of pocket. 
So I need to be more realistic and focussed!
Choose what I spend my money on according to the likelihood of getting it back  - plus some! Choose Art Fairs and Exhibitions according to who they attract.
 
1/ Consider my subject matter.
Whilst I adore painting horses, dogs and other animals, is Pet Portraiture the way forward? There are a lot of artists competing for the same market and some of them are cheap! Too cheap! So take a look at what is actually selling. Do my version without selling out!
 
2/.  Plan more workshops
Workshops are such a rewarding thing to do!
Yes, there is lots of preparation, but there is nothing I like better than encouraging others and helping them to see that they ‘can’ when all their lives they were convinced (usually by an evil art teacher) that they couldn’t! 
 
3/ Schedule in more Exhibitions/Outings for 2019 and 2020
Venues work two years and sometimes more up front so whilst I have one Exhibition already booked for 2019 with Print Pastel and Paint, I need to book a solo show.
For this I would be showcasing what I product in ‘1’ 
 
4/ Schedule and Open Studio
A great way to sell previously painted art that I feel I am moving away from as I find my authentic artistic voice. 
I might be able to see some of the floor in my studio too – best schedule time to have a good clear out too!
 
5/ Launch a regular newsletter
Aimed at current clients but also at the people that I aiming my new work at.
To do this I need to grow my subscriber list.
To do this I need to attract their attention through blogging and relevant work – be seen!
Schedule time to paint!
Schedule time to blog!
Prepare some giveaways that promote new work
Give people an incentive to sign up for my newsletters so I can tell them what I am doing and give them something that is relevant and helpful to them
 
6/ Enter juried exhibitions and competitions
            Make a list of all the above that are relevant to you along with deadlines.
            Print off T+C’s
            Diarise the deadlines and time to complete the work
            For the above use Katherine Tyrells, artbusinessinfo.com guide to working out costs of entering to make sure this is budgeted in and doesn’t exceed marketing allowance
 
7/ Set a budget for the year for costs and stick to it!
Do a business plan – even if it does kill you! And use up all canvases, paper, paint etc that you already have before buying any more!!
 
8/ DON”T BE A BUSY FOOL!!! 
            Write that large somewhere in the studio and make sure you look at it to keep you on track.
            Align all social media posts – facebook, Instagram, twitter etc so you only post once and also schedule posts once a week for a 7 day feed of fabulousness! 
 
9/. Schedule in time to experiment, play and be inspired!’
Give yourself a break! Reward ourself after finishing and getting paid for a commission with a day at a nearby Gallery, or just playing in your sketchbook!
 
10/ Do not be distracted
....or tempted by the constant stream of sweetie shop marketing from evil art material peddlers – yes you know who you are.
My computer knows who you are as well. I only have to start a word with J and Jacksons Art is up on the screen! 
Aside from stocking up on materials for workshops this is a purchase free zone! 
Do not sneak 15% offers into my inbox, and do NOT offer me Free Gifts or Free P+P. It won’t sway me.
 
So the sacrifices that need to be made to ensure all this happens....
Well, it will involve the odd Excel spreadsheet (Head In Hands Moment) but if it is less serendipitous and more structured and allows me wiggle room for scribble time then it can only be a good thing. For too long I have bumbled along painting commissions and doodling in between taking each day as it comes. If I am to truly say I am an artist I need to make this my business and take it and myself seriously! 
 
I CAN DO THIS!
2019 is a year where I am already busy with workshops and demonstrations, and with three exhibitions planned I will need to have my head down creating new work. I have promised myself time to experiment with new stuff each week. All work and no play makes Jack a dull boy and I have always prided myself on my ability to have no inhibitions in my sketchbook. We all need somewhere to blow off steam and just be daft. Another reason why I won’t be entering any Sketchbook Prize Competitions!
I hope you will follow my journey and tips along the way. And if you share my despair don’t be alone – come and join me! I would love your company along the way.
Or why not join me in discovering a new hobby, new techniques, new skills if you are a beginner. 
Art really can be addictive but is a great way to discover new things about yourself. I am testament to that! Who knew that I could Chair an Art Association and organise Exhibitions and Competitions?
Or produce a painting in 4 hours?
Or make people cry when I handed over a momento of a lost friend? Actually maybe they weren’t crying in a good way??? Oh! the doubting voices are coming back!

So Santa, a bulk roll of industrial strength bin bags for me, and some banging tunes to keep me sane!
 
If you would like to join me on one of my workshops CLICK HERE to see the programme for Spring 2019
 
If you would like me to demonstrate to your art club CLICK HERE to contact me
 
If you would like me to paint a commission I would be happy to discuss your requirements! Please CLICK HERE to contact me
 
If you would like to keep updated with my news and future events, please CLICK HERE to sign up to my Newsletter. I promise I do not send spam or badger you with useless information.
 
If would like to send positive criticism regarding my work, I am always open to learning and listening. I do not appreciate negative remarks if they cannot be learnt from so please keep any nasty negatives to yourself. Only light and love here!
 
If you would like to follow me for daily updates you can do so here
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​

You may remember that Anne (Blankson Hemans), Anthea (Lay) and I met up for a painting trip to the Norfolk Broads a couple of years ago post our Big Painting Challenge adventure?
Linda Matthews who organised a Brush With The Broads (BWTB) moved to France so last year we missed out on our little painting reunion. We therefore  leapt at the chance to visit Linda in her lovely new home in Autignac, France which is a village that is in the foothills of the Massif Central and surrounded by vineyards which at this time of year were bursting with Autumnal colour!
​We arrived at Beziers airport via a seamless Ryan Air flight (Yes! Really!) from Luton, and was greeted by our hostess for the next few days! A whistle stop tour on the way to Autignac by Linda who is very knowledgeable on the region and an excellent tour guide! 

On arrival at our accommodation (Linda’s house!), we were instantly wowed by the high ceilings, huge winding staircase and sizeable rooms!
The house is a typical traditional French townhouse with extensive living and a huge cavernous ground floor ‘garage’ ! Linda is looking forward to opening this area up as a studio/Gallery in the summer. A fantastic space that is well suited to artistic practice and I had to admit to a tinge of envy!

​The infinity staircase leads from the ground floor right up to the attic in polished concrete and the ceilings are typically high and the walls impressively decorated with stencil work and hand painted stripes and panels.
We each had our own bedroom, which were all very comfortable and each had a huge wardrobe – the original flat packed furniture I was reliably informed! There was no other way to get it up the stairs I am sure! Anyway I spent my entire stay convinced that Aslan was going to leap out of mine! A perfect gateway to Narnia! 
An excellent Coq Au Vin prepared by Chef Linda and then bed – we were ready for it!

​The following morning, after a delicious breakfast of fresh croissants and coffee we packed our painting paraphernalia in the car and made our way to a pretty little town on the coast called Meze which is an occupied settlement since ancient times. Meze, on the north-western coast of the Etang de Thau, is now an important local centre for oyster production and the Oyster beds themselves are clearly marked out on all the local maps.
Meze is currently unspoiled and does not have too many tourists and was quiet while we were there.

​We pitched up at a row of moored leisure and speed boats bobbing on the turquoise water. The weather was stunning with clear blue skies and the sun was on good form. Luckily we had braced ourselves for weather similar to what we had left behind and had packed layers, as it became chilly as the sun began to dip so we packed up our kit and made our way to a café in Etang de Thau and treated ourselves to a delicious hot chocolate which helped to warm us upat Grau d'Agde where L'Herault river flows into the Med.

​The harbour mouth is marked out by two Pepper Pot type light houses and we took the opportunity to get some photographs of the fishing boats coming home, followed by huge flocks of seagulls as they dumped their unwanted catches overboard before they entered the harbour. A future painting for sure – it was so cold in the wind by the time we arrived that it unfortunately wasn’t practical to paint en plein air. 
 
Then it was back to Linda’s to unwind, reflect and order Pizza from the Pizza man that visits the village very Thursday! They were delicious – apparently there are more pizzerias in France than there are in Italy!? You learn something new!

​Rain had been forecast for Friday morning so I shouldn’t really have been surprised when an enormous clap of thunder caused me to fly out of bed and the hammering of rain in the pan tiles gave us an opportunity for a morning of Still Life painting from our breakfast left overs! We set up some directional lighting in the dining room and off we went. Anthea chose to paint the view from her window which was rather stunning, whilst Anne and I chose oil and acrylic studies respectively. Even Linda joined in and painted an oil study too!

​The sun made an appearance at lunch time so it was back out into the fresh air for a trip to Bezier. An obligatory Croque Monsieur later, we took to the streets for some sight seeing. The cathedral sits upon the ruins of a former church in which the massacre of Bezier took place in July 1209.  20,000 crusaders and pilgrims sought refuge in the church, but it was stormed by the soldiers acting without command and all 20,000 lost their lives!
It is now an impressive landmark, and from its lofty heights  we could see the fantastic vista before us with the Autumnal colours punctuating the landscape all the way to the Pyranees!
A quick tour of the Fayet museum followed which houses sculptures from local artist, Jean Antoine Injalbert and some 17th and 18th century paintings. Well worth a visit if anyone is in the region.

​So to our last day and the sun was out for us. Hooray!
Linda and Paul drove us to Pezanas, a pretty little town where we planned to sketch and explore! It was very busy as it was market day so parking was a challenge but Linda is a determined lady and managed to find a space!
I am always prone to wander and made use of my camera to take record the winding narrow passages and fantastic doorways. In the Jewish Quarter there are lots of small Art Galleries and small craft shops which held the most amazing colours and curiosities!

As an artist you communicate through images that you create and present to the world.
Whether you are a realist, surrealist, impressionist or abstract artist, you pour yourself onto the canvas with every mark that you make and whether this comes naturally or it is a battle, the image you make will tell.
I began my art career as a hobby artist, with the knowledge that I have always been able to replicate what is already there (I started by copying my mothers signature on school letters to get out of PE), I am on a journey to convey more than just a copy. I want to find my signature and put it into everything I do.
Part of the challenge of portraying oneself as a portrait painter (of animals) I spend a lot of time painting horses and dogs from photographs. Whilst this is a great way to learn about painting methods and making some pennies, it is no substitute for authentic life study and the freedom to play.
This is of course why every artist should have a sketchbook! And some tuition.
With this in mind and a landmark birthday on the horizon I persuaded my husband that I needed to go on a workshop. After much musing and debating what would be more useful to me in this stage of my artistic development, I plumped for a course with a much admired artist whose use of colour and ability to create an abstract painting that spoke to me. So with much excitement and trepidation I arrived at the idyllic Coombe Farm Studio to attend a week long course with Gerry Dudgeon!

Conception of a masterpiece!
Gerry has a method.
Gerry’s method is thus: Always start your abstract painting with an abstract painting.
That may sound confusing, but in reality it meant that every painting started off life as a ritual flicking splatting and splodging of paint onto the canvas. This creates an interesting ground to build upon, leaving some areas of the initial marks exposed and others painted over. Plus it’s fun – release the inner child! 
 ​

​Next we were off to a rather large garden of a family friend of the Rileys’ with a spectacular view of the Devon hills. 
Having completed my first work with the zig zagging stream, I immediately became hooked on a zig-zag that became apparent through a line of hedgerows that slithered off into the distance.
We were exploring perspective and distance and this zig zag took you from the foreground and off into the far horizon really nicely. At last, I was getting the gist….mmmm
Back in the studio I only had two narrow format canvases left so I taped them together and painted them as one. Colour is my signature and my first love, so that would be the language that was spoken on my final work.
There are aspects of these paintings that I love and much of it remains unresolved as time ran out. I do think about ‘finishing’ them and maybe even framing them, but they do serve as a reminder of a big challenge for me.

It all began when I was asked what I would like for a rather special birthday that I have recently celebrated. Always keen to learn new skills and new people I plumped for an Art break in Dorset with one of my favourite artists Gerry Dudgeon! As you may already know I LOVE LOVE LOVE colour - I mean, instead of switching on the TV I will get my box of Sennelier Pastels out and just drool over the colours....I rarely actually use them I hasten to add. That would just spoil the look of them. So my bag is packed, I have ticked off the list of materials I need to take, checked the map, watered the plants and cleaned the house (there's nothing worse than coming back to a messy house is there!) My other half is taking advantage of my absence to visit our son in Exeter and my daughter is off to spend the week at her BFF also in Devon.
So we are all off for some excitement.
Obviously pinning my hat on the Equestrian Art Genre means that I will be looking to learn from Gerry's methods and the way he 'sees' and then apply it in a way that pleases me.
I actually cannot wait to get started. I am taking my Sennelier pastels with me, so I expect the TV will be taking a back seat, and will post back with my news post a week of colour, texture, and abstract art amongst like minded people that I hope to call friends very soon!