Author Archives: rosestrang

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About rosestrang

Artist, Painter

Coigach series day 5

Coigach Series 10. Oil on 10×10″ wood. Rose Strang 2023

More painting progress of the Coigach series, with the continuing challenge of saying less with more simple brushwork – trying to hone in on the essentials of what makes a particular landscape speak to me. Here’s the series so far …

I’ve been visiting the Coigach area for decades because several of my dad’s friends live there. As is often the way – one family member moves there, others follow, then eventually people become intergrated with the local community, making friends, or finding long term partners.

Coigach means ‘five’ in Gaelic, and it refers to the five townships or villages of the area, the main one being Achiltibuie (I love that name and wish I knew what it meant!) Near our friends’ house there’s a broch down near the sea – a form of dwelling, or maybe fort dating from the iron-age – incredibly strong and sophisticated structures architecturally.

This particular one is a bit crumbled down (there are almost intact ones in Orkney and, interestingly, very similar structures in Sardinia) but still impressive given its age. This wild area has obviously been peopled since the retreat of the ice-age, like the rest of Scotland’s north west coast. It’s unexpected to the new visitor since this seems one of the most remote corners of the world, but if you remember that the sea and rivers were the highways back then, not land, it makes sense.

I’ve stayed in various places, one time on Tanera Mor, one of the Summer Isles of the coast of Coigach. This was the island where cult film classic The Wicker Man was made. I’m never sure if it’s a cult film because it’s a bit hilarious, or because of its atmosphere – both, no doubt. The island was indeed somewhat spooky, or at least I found it so, on a dark rainy day wandering across the boggy moorland with my friends, exploring caves in the black cliffs, aware we were the only people  on the island at that time.

More convivial are the times spent on the mainland of Coigach with family friends. I remember some legendary Ceilidhs – lots of dancing and serious whisky drinking, people here really know how to party, including the local police, I’ll say no more about that though, and it was in the mid 1990’s so nothing to do with anyone there now!

One of the most unusual evenings I experienced was on one of the smaller Summer Isles, a new owner had just bought the island and he appeared to have transported his entire suburban house with fluffy wall-to-wall carpets, massive hi fi system, leather-effect sofas, canaries in cages and obligatory conservatory, to an amazing spot overlooking a majestic loch (his was the only house on the island). Towards midnight we were all dancing to Rod Stewart’s Do ya think I’m sexy? then a piper led us outside into the cold night air and started to play his bagpipes – it was an affecting moment after all the party noise. We all fell silent as the notes echoed across the loch, they seemed to carry for miles.

One new year as we travelled back to Edinburgh, my dad’s car started to fail as we traversed Glen Coe and Rannoch Moor. It’s not a good place to feel the car beging to sputter and die. We all sat tensely, driving at a snail’s pace along the icy road, towering mountains above and vast white moors stretching ahead. I think there was maybe one house that may or may not have been inhabited as we drove along. Finally we got to a garage – a huge relief.

People mean a lot in areas like Coigach, it’s a lifestyle you can’t take lightly since money alone doesn’t help when you’re snowed in, or your boat breaks down. I have many enjoyable memories of this place, not least recently when we stayed there briefly with friends after our wedding in May. No matter the time of year the colours always seem to me alternately moody and wet then sparkling, dazzling sunhine, rarely anything in-between. I love driving along in the car over the winding roads down from the wet mountains and bleak moors, down past little cottages nestled in the tall grass and towards the summer isles dotted across a sparkling sea. I’ll attempt that subject soon …

Coigach series day 4

Above Coigach 7. Oil on 10×10 inch wood. Rose Strang 2023.

Today’s two paintings continue the Coigach series on 10×10 inch wood. These will be on exhibition later in the year at the Limetree Gallery, Bristol.

The painting below is a remembered impression of driving through Achiltibuie in Coigach. I take photos as I drive past but if I were just to paint the photos it wouldn’t have that ‘glimpsed’ effect that I want as I’d paint too carefully. So the approach here is just to keep painting and wiping off until it has the sense of freshness – something on the periphery of your vision that you just grasp as you drive past.

I suppose it’s how most of us see, unless we’re focussed intently on a spot in the landscape, or meditating, or very familiar with the area. There’s a sort of ecstasy in seeing hundreds of beautiful shapes and images whizzing past, and because you don’t have time to examine them in detail, they become etched on the mind almost like photos that just grasp the essentials.

Sometimes, hundreds of such images will play through my mind when I’m half asleep, which I find strangely magical.

I wonder if Ilsa D’Hollander had that experience. I mentioned her paintings a few blogs ago as I’ve long been a an admirer of her work. D’Hollander would cycle through the Dutch countryside then return to paint memories and fragments of what she’d seen in the studio. It was difficult and sad to hear that she’d taken her own life while still young. I haven’t really researched into that as I’m not sure I want to know – in any case she left a legacy of beautiful paintings, with an incredible astuteness of eye.

There’s a peace in her paintings that’s very familar to anyone interested in Northern Renaissance paintings and a light I can relate to, coming from the northern hemisphere.

More tomorrow …

Art launch – This Friday 1st September

Above Aberdeen Art Fair (AAF) 2022.

I’m really excited to be showing with the Limetree Gallery as part of this year’s Aberdeen Art Fair. The AAF is a yearly public event that attracts galleries, collectors and buyers from across the UK.

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(Billy Connolly at AAF 2022)

It was nice to recieve a mention in Aberdeen Live who were interested to hear that a selection of my paintings (commissioned by the Folio Society for their publication of Nan Shepherd’s Scottish classic The Living Mountain)  will be on exhibition at AAF this year with the Limetree.

Article link here – Aberdeen Art Fair to Feature Nan Shepherd-Inspired Works

Aberdeenshire is of course the birthplace and lifelong home of Nan Shepherd, so I’ll be taking the opportunity to appreciate the landscape while up there this weekend as I’ll definitely be heading up to attend the AAF on Friday. Hope to see you there!

https://www.aberdeenlive.news/news/aberdeen-news/aberdeen-art-fair-feature-nan-8709373

Coigach series day 3

Above – Coigach 2.  Oil on 5×7″ wood. Rose Strang 2023.

I’ve realised that strictly speaking this series should be called ‘Coigach Series’ since the paintings are not just my impressions of Achiltibuie. I tend to call the Coigach area of Scotland’s west coast ‘Achiltibuie’ since that’s where I go to visit friends when I’m up there. The whole area is Coigach though – named for one of the mountains in the area. Coigach is an incredible landscape featuring unbelievably pointy mountains with beautiful names such as Stac Polaidh and Suillven. I’m gradually getting to the more dramatic scenes as I progress.

I’ve been getting into the feel of this series on 5×7 inch wood, but today I moved on to 10×10 inch wood as I’ll be creating a series for the Limetree Gallery’s winter show this year. I feel this Coigach series will suit the gallery well. The gallery owners have asked their artists for paintings in the 10×10″ format, which suits me well as I often work at that size.

Here are the latest 7×5 paintings, and the first at 10×10 …

Achiltibuie series day 2

Above –  ‘Achiltibuie 3’. Oil on 5×7″ wood. Rose Strang 2023

It’s always interesting when you feel you’re going in the right direction paint-wise, but it’s not quite there yet. I prefer the painting below (Achiltibuie 4’. Oil on 5×7″ wood. Rose Strang 2023) to the one above. The one above looks predictable to me whereas the one below has more mystery. Hmmm!

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Achiltibuie series

Above ‘Achiltibuie 1’. Oil on 5×7″ wood. Rose Strang 2023

It’s been a very experimental time these last few weeks, not least since it’s impossible to find time to paint on a regular basis, or to focus on one subject with all the projects going on. My studio is temporary till next year and consists of a tiny kitchen alcove, until we find a new home somewhere rural where we can stretch out a little. Needless to say I can’t wait, but it’s a laborious process.

The painting above is from a series I’m painting of my impressions of Coigach and Achiltibuie where we stayed for a few days back in May. I’ve always loved the impressions of landscape that remain in imagination after driving through it. One of my favourite artists, Ilse d’Hollander, had a similar approach – she’d cycle through the countryside of Holland, then return to the studio to create semi abstract impressions. A ‘painter’s painter’ as she was described, she wanted to say a lot with little, more about distilled memories of her short journeys. A sense of space, or light, or distance for example.

I particularly enjoyed this short video about her work, beautifully filmed and edited by Gauitier Deblonde …

Ilse D’Hollander film

Despite all the distractions, I must find time to paint a series for the upcoming winter exibition at Limetree for November. I’m also getting together a little project with my friend and collaborator Atzi Muramatsu. I’ll be creating small portraits in oil on wood of Atzi and members of a small string quartet. The quartet will then play for one night at The Scottish Arts club in November. It’ll be a nice little project, meaningful but manageable!

I’m exploring some more abstract approaches at the moment, or mixed media anyway. This piece was created with plastic, cold wax and oils. Quite good fun, it’s good to loosen up – not to always feel you have to stick to the same approach.

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‘Waterfall’. Mixed media on 15×15″ wood. Rose Strang 2023

St Oran’s Chapel day 4

Above St Oran’s Chapel, Iona 3. Oil on 5×7″ wood. Rose Strang 2023.

A slightly ghostly effect on today’s painting. I like it but it needs a touch more warmth.

Here are the three paintings so far in the St Oran’s series ..

St Oran’s Chapel, day 3

Above  – St Oran’s Chapel 2, Iona. Oil on 5×7″ wood. Rose Strang 2023

I’m hugely enjoying this self-motivated exploration of light and texture. As yet I’ve no idea where I’m likely to exhibit it. Today’s painting does remind me of the soft buttery light that flowed through the windows of St Oran’s Chapel on the 15th May this year.

I’d love to treat my walls to a coat of lime render (the plaster used to cover the walls of St Oran’s) but it’s a bit caustic I’m told, not ideal for domestic settings.

Here are the three window paintings so far ..

More tomorrow …

St Oran’s Chapel, day 2

Above St Oran’s Chapel 1, Iona. Oil on 5×7″ wood. Rose Strang 2023

Working with a palette knife brought better results today. So this will officially be the first finished painting of this series!

Once I move on to canvas I’ll explore some dry brush work but the palette knife seems to suit the scale and texture of wood just now. I’m using a palette of white, lemon yellow, medium  yellow, ochre, cadmium red, crimson and black. I’ve been looking at the beautifully subtle work of Jan Mankes, but his technique was very painstaking – slow build up of layers in oils –  which doesn’t suit my style so much.

More tomorrow ..

New series – St Oran’s Chapel, Iona

Above – painting in progress St Oran’s Chapel, Iona. July 2023. Rose Strang

A change of palette after a very busy few months. No doubt I’m drawn to these cool beiges and subtleties of light because life has been quite hectic.

There hasn’t been much time to paint, what with getting married in May and all! Then Adam and I spent a month editing our wedding video and creating music for it so we could share a video of our special day with family and friends (we decided we’d have a very low-key wedding, so it was just the two of us).

I kept thinking of the light during our wedding in St Oran’s Chapel – it couldn’t have been any more beautiful. Hence these first attempts at capturing the subtlety of light  and the way it plays on textured plaster. It’s quite a minimalist, and spiritual theme. St Oran’s Chapel is believed to be the oldest building on the Isle of Iona that’s still standing. It sits modestly in the grounds of Iona Abbey and it’s quite small. The acoustic is amazing.

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This series will develop onto larger pieces of wood and canvas, and might involve figurative painting too – a bit of a rarity in my work.

Being the visually oriented people we are, we wanted to find an excellent photographer for our wedding day so we were lucky to find Martin Venherm Martin Venherm Photography whose photos we’d admired when he’d been hired to shoot our friends’ wedding. He created images we absolutely love, and will enjoy looking at in the years to come! Here are a few of my favourites  …