Tag Archives: rose strang artist

Hebrides 10 (paintings, video and music in progress)

p1120379 p1120380More works in progress, above.

I spent a couple of days editing the video of my paintings and Louise Palfreyman’s poems, which I find beautifully evocative of the landscape – capturing her visceral response whilst subtly touching on some of the ideas, context and history of Lewis and Harris.

Then I realised I wasn’t entirely happy with the paintings. Or to be more accurate, Atzi Muramatsu (the cellist we’re collaborating with on this project) came round to my flat to discuss music for the project, watched the first draft video then said he knew I could paint something more atmospheric. I thought so too – I’d got caught up in video editing when my focus is painting!

I’m still trying to capture the mood and feel of the landscape at this stage, experimenting with what works, things haven’t entirely fallen into place yet, so I was grateful for the reminder.

More paintings, poems, music and video to follow, in the next few weeks…

RSA Review

Giles review RSA SI was very pleased to read the review (above) of the RSA Open today in the Times, which mentions ‘Cockenzie Power Station, 26th September 2015’.

Many thanks to Giles Sutherland (Author and Art Critic, Times Scotland) for mentioning my work in this review

The RSA Open is free entry and continues until February, there’s a lot to see and some great paintings and sculpture, I highly recommend you drop in.

‘The Green Woods Free’

Below are all works that will be included in this Friday’s exhibition (details here)

The Green Woods Free

Preview Evening: Friday 17th July, 7 – 9pm (including live cello performance by composer/cellist Atzi Muramatsu)

Whitespace@25 Howe Street, Edinburgh, EH3 6TF

Exhibition continues until 23rd July (open every day 10am to 5pm)

 

Borders Country Day 21

P1260026Today’s painting, Birch trees on a larger canvas of 40×30 inches.

I went a bit Jackson Pollock with some household undercoat paint, which was fun. I wanted to capture an early spring sort of light, more delicate and gentle.

Lots of admin’ to do for the exhibition so I don’t have much time to elaborate! I hope you’re all enjoying the summer weather.

Studio photo, people have said they like these so I’ll post one each day..

P1260029

New paintings

280px-John_Knox's_House_-_geograph.org.uk_-_3060967The photo on the left is of the Scottish Storytelling Centre in the heart of Edinburgh’s Old Town on the Royal Mile, where the Eigg Island exhibition and event will be held in March.

It’s on the site of John Knox’s house which is Edinburgh’s only completely original medieval building, dating from 1470.

 

The event includes debut performances By JL Williams and Atzi Muramatsu, so we’ve decided to ticket it (£6 – £4 concession). You can buy tickets on this link: Tickets

Depending on fund raising success we hope to give ticket proceeds towards the Eigg Island Heritage Trust (I should find out by early February if we’ll receive funding. Fingers crossed!)

You can keep up with exhibition and event updates here: Eigg Island Facebook

Also, a welcome new addition to the exhibition is photographer Simon Nicholas White – who is very much an Eigg aficionado! He was on the island in 1998 when the community bought the island amid much celebration. His photographs are semi abstract works inspired by geology – a focus in to the textures and patterns of rock formations which are small worlds in themselves. I’m really looking forward to seeing them in the exhibition space. (Click on the link on his name to view images)

phthaloblue_eb38f4f1-a913-4ecf-a7cf-792afb143b7b_largeAt the moment I’m in the midst of ordering art supplies for three of the largest paintings I’ve made so far. I’ll be focusing a lot on texture, and have ordered large quantities of molding paste, and glaze effects (normally I add lots of salt for texture and grittiness, but on this scale I’ve had to ‘upscale’ my materials!). Also some of my favourite paints – pthalo blue and green mixed with varnish for transparency

The works will be on three 40 x 40 inch wooden panels and I’m looking forward to working on these, having often worked on smaller pieces of wood. You can really play around with effects since wood is more resilient than canvas; scratches into the surface, layers and so on.

The themes are East, West and North Eigg (I wrote more about inspiration in the earlier post Here)

If you’re in on near Edinburgh on the 26th March, I hope you can attend the launch event which promises to be very atmospheric with poetry and music recitals inspired by Eigg and its landscape, or drop in between the 27th March to 21st April to see the exhibition

Mountains of Rum from Laig Bay

The photographs above show details of two paintings – ‘Mountains of Rum from Laig Bay’ and ‘Mountains of Rum from Laig Bay 2’.

In these works I wanted to combine simplicity and texture, and capture the stillness of Laig Bay (on the west coast of the Isle of Eigg) in the early evening. This was my first experience of this view, and I think there’s something about first impressions of landscape that can affect us in a different way from a view that’s familiar to us, or ‘every day’.

As an artist it’s all about trying to be present. The impact of a view as epic as this seems to empty the mind of its familiar habits or ‘chatter’.

In photographs, Laig Bay looks at its best in bright sunlight, but being there, on this particular evening, the mountains revealed themselves slowly from behind the clouds, even the waves seemed to move in slow motion

Rum from Laig Bay 1. Acrylic and ink on 10x10" wood

Rum from Laig Bay 1. Acrylic and ink on 10×10″ wood

A friend of mine, the talented poet Jennifer L Williams, responded to a later painting I made of this view (the full poem can be read Here). Although she hadn’t heard me describe my impression of the view, the lines of her poem captured this stillness, also the sense of closeness to the elements..

Outside where we belong with the fire and the sea’s glass
Its waves of green astonishment lavishing the sand
The creatures of the deep and the wild salt

 

This sense of closeness to landscape feels to me like ‘being in on a conversation’ – it feels as though there’s no barrier between you and the landscape. And when you think about it, there isn’t.

Rum from Laig Bay. Acrylic and ink on 10x10" wood

Rum from Laig Bay. Acrylic and ink on 10×10″ wood

I added sea salt and sand from Laig Bay to these paintings (you can see it especially in the bottom of this painting on the left). Sand adds a slightly sparkling impasto ‘body’ to the painting, and I like this because it adds something visceral to the painting – something tangible, not distanced or idealised.