New Year New Paintings

2018 wasn’t a very productive year for me as far as painting goes. We moved house in the spring, which was very time consuming, and a great deal of the rest of the year was spent designing, preparing and planting a garden. This nourished my creativity so I did not feel the need to be painting too much.

Garden May 2018
Garden May 2018
Garden September 2018
Garden September 2018






The garden still needs to grow, but I am pleased with the design.

I have not produced many pastels recently as they need to be framed behind glass, and are therefore more trouble to frame, store and send in the post. These days I sell most of my work through, which means mailing paintings to anywhere in the world.

However, “Wet Sand”, “Bunch of Grapes” and “Long Face” are three pastels that I am particularly pleased with.

“Wet Sand” is from a photograph taken by a friend when we were on holiday in Ireland together. I enjoyed playing with colours here and kept the painting quite loose.

Wet Sand
“Wet Sand”

“Bunch of Grapes” was very enjoyable to paint – I tried to keep some looseness in this one too.

“Bunch of Grapes”

“Long Face” is a portrait of a horse that came up to us when out walking one day. I love to do portraits, whether it be people or animals – I think it’s to do with capturing the expression and feeling of the subject

“Long Face”

I have been having fun recently experimenting with oils. I painted “French Village” when I returned from a holiday in the Dordogne where the old buildings are so attractive.

“French Village”





I was in the United States in November and, although I lived there for twelve years, I was once again astounded by the brightness of the fall colour, and tried to capture it in “Trees on Fire”.

“Trees on Fire”

“Who Do You Think You’re Looking At?” is a small 20 x 20cm painting – a bird portrait with a lovely fierce expression.

“Who Do You Think You’re Looking At?”

I have been enjoying using thicker paint, and “Birches” is a painting done almost entirely using palette knife. This was such fun to do, though I did find control issues with the fiddlier bits – however, this adds to the looseness.
















Most of my paintings, both pastels and oils, start with an underpainting – generally in much brighter colours than the finished product. I often like the underpaintings so much that I feel I should stop there, and so this is what I did with “Superiority!”


Maybe I like the underpaintings because I am more relaxed when doing them so I work in a looser fashion, or it could be that the brighter and outlandish colours that I use are attractive to the eye, or a combination of both.

Watch this space for more paintings like this!


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