For my upcoming Exhibition

Underpainting for major work

Underpainting for major work

I need a very large painting on the main wall as you enter the exhibition. Did I mention my Bather’s Pavilion Exhibition in March & April? Well it’s 2 years since my last one already!

So this 1metre square piece will do the honours. Not in it’s present state of course. This is the scrubbed on colour only. Yet to follow when I get a moment – between moving house,  Nic & Adrian’s Fiesta Wedding & Term 1 Sketch Classes beginning – will be the sketch to go over the lot.

I did a few location sketches looking over Balmoral Beach recently. They were high speed as I was on the view side of a street with no pavement. I drew my breath in every time a vehicle whistled past. But later when I was looking at them back in the Studio, I felt I had some nice compositions.

The painting so far is done with watery acrylics, as in watercolour style. The next part will be the sketch. I’m thinking I’ll use a brush with black acrylic – thinned down but not too much. Raoul Dufy uses that look in his work, and I like the random quick look, although in reality every line is well and truly considered.

I will show it here when it’s done. Mmmm a lot will have happened by then. A rapid start to 2012 indeed.



One comment

  1. edward vincent

    If I may comment; if ever there was an appropriate style for your work, it would have to be (from my understanding of his approach) that of Raoul Dufy.

    There’s always been an aspect of your work which troubled me (too strong a term but it will have to do in this rush) and that is the use of a fixed point pen, which leaves you committed to either put in a line or not; ie there’s no grey area (literally).

    I’ve noticed figures you’ve sketched which might be tiny and distant, but you’re committed to draw what turns out to be clumsy out of place details on faces which should never be more than a hint.

    Using Raoul Dufy’s flexible (brushed) lines overcomes this dilema; ‘to show or not to show’.

    All the best for the exhibition.
    Edward Vincent


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