Above Forest of Luffness 3. Oil on 33×23″ wood. Rose Strang 2024.

A few changes to the painting since my last post (both versions below) . .

Although the character on the left is based on me I wanted to make it more anonymous. The exagerrated outline brings something stronger to the painting and rubbed out areas bring more mystery I hope.

I think the broken archway also becomes more mysterious, with the faint blue sky enhancing the idea of a passageway.

The video I mentioned in my last blog will explore the background of this series, but more than that I think it will reveal what’s interesting about the creative process in general. A painting doesn’t just involve the artist in their studio, but rather many experiences, involving many people. It’s not simply created to make money, or it shouldn’t be at least!

I think it was just a matter of time before I brought people into my landscapes. I’ve always loved figuratve drawing, especially line and expression of line and movement.

Before I studied for a degree in art (back in 1994) I completed the usual art and design course for those interested in becoming artists – a foundation national certificate in art and design at Edinburgh’s Telford College. Luckily while there I was taught life drawing (drawing of the human figure) by one of Edinburgh’s well known artists and teachers, Bill Gillon.

I’ve got to say he was a much better art teacher than those I encountered while studing my degree in art in later years! Every Monday we all spent seven hours intensively painting a nude model. I came to love the human body in all its manifestations ; young and old, large and small, willowy or weighty – all were fascinating to draw.

Mostly it was a process of frustration – my figures looked insubstantial, weightless, out of proportion – but over time – with Bill Gillon’s tuition and encouragement and in fits and starts, I began to make some headway.

I remember when I got a crit’ at the end of the year (always a very difficult thing for a budding artist!) and I glowed with happiness when he described a couple of my life paintings as ‘real crackers!’. He wasn’t so positive about some of my other work – namely a painting of a tedious vase of flowers – ‘Why? What’s it saying?’ he demanded, quite rightly!

Back in 2016 when I was creating my portrait of Richard Demarco, Richard asked me who’d taught me drawing, I replied ‘Bill Gillon’, since I really didn’t get a tuition in drawing and painting at art college. It turned out that Bill had been one of Richard’s pupils when Richard was an art teacher!

I was sad to hear that Bill had taken ill and passed away in 2014, but it was good to see there’s now a Facebook page set up in his honour where artists can upload work inspired by Bill, or talk about their memories. I might add a link to this post.