Daubs

I will mess around in any media for making pictures. I am driven solely by my own interests and what works for me which you can find via the menu above. Most pictures when 'clicked' open up to a larger view in a new browser window, use the back function to return. I do not use acrylics which I know in more accomplished hands can make fine things but I find them gaudy and unnatural.

Works in Progress


work in progress

10th October 2019

Here is my latest oil painting which has now been underway many months. Starting life as a triptych it was as usual an unwieldy concept which was never likely to progress satisfactorily so it has now morphed into something more manageable. Come back here for updates.

What I do


I tend not to descibe my work as art. I paint but even after 50 years or so I still find it very strenuous work. Inspiration seems to happen easily enough but gestation is often slow, implementation long winded and overly complex. Extensive revisions with frequent re-direction are often required before anything crystallises. I am fussy, self-critical and, in a somewhat contradictory fashion, both perfectionist and self-satisfied at the same time. Surprising therefore that I ever finish a thing but those I have completed, those which appear here, I am quite fond of. Promise and Shostakoviching, parts 3 and 4 of my Self Portrait in Five Parts, are, at the time of writing the nearest I have ever come to "Art" in my terms. I am particularly proud of those two.

I am not influenced by any particular painter or school other than in an subconscious way but rather by an eclectic mix of ideas, tastes and influences which have struck me as interesting over the years. I do often use symbolism, not an uncommon thing with painters but I do not mean that I follow the school of that name. I employ symbols as a language with which to express myself without revealing myself directly. My life is in my work. Painting is cathartic. In the process of creating I find I am able to objectify both the joy and the pain of living and by so doing survive them.

I do not generally (unless my guard is down!) comment on "meaning" in any of my work although there are threads and interconnections in my pictures and my writing with more than enough clues to go on. If you do not get it then treat it like a foreign language. Either learn it or holiday elsewhere.

My personal painting heros are Marc Chagall and Amadeo Modigliani. The former has been an attraction ever since a presentation which I gave to the rest of the Art class at school (I must have been about 12 or 13 at the time) and the latter because, like all my artistic heros, he exemplifies both the artist's struggle with his own humanity and suffering but in his art honours and records that of humanity around him. I find Modigliani's portraits rich in soul and feeling. They are of real persons intensely and revealingly observed and uniquely lovable.

Where I do it


My latibule started life as a largish garden shed but was re-purposed when another shed for potting and garden tools was erected farther up the garden. Having acquired a couple of extra windows, a new roof, a 1 metre extension on its long side, work benches on two sides, work table and built in easel it was renamed the Shedio.
It is cramped to say the least but I love it. In summer with the door open and the birds chattering or in winter under a deadening blanket of snow with the heater on, it is all I will ever need.

Me at work in the Shedio
Me at work in the Shedio
Behold the Shedio itself
Me at it
Behold the Shedio itself looking back