Tag: SGFA

Behind the Scenes at an Exhibition

August was dominated by the Ikley Art Show, which involved a really intensive period of painting, followed by an operation, which brought my artwork to a standstill for the rest of the month! Preparing for my first exhibition solely of new original work was a real challenge and from it I learned many lessons. I hope you will find these interesting as an insight into the preparation which goes into an exhibition:

  1. Don’t commit to exhibiting paintings which are not yet finished (or in some cases, not even started). I was so pleased to have a full display of work that in retrospect it’s easy to forget how stressful it was to paint to a tight time limit. On the one hand, having an exhibition to focus on definitely increased my productivity, but the paintings which were done close to the deadline caused no end of heartache when even the slightest thing went wrong! I am gradually learning that painting has to be planned far in advance – it always takes longer than you imagine, and of course you have to build in all the drying time for oils!
The only painting which I hadn’t even begun when I committed to exhibiting a set list of paintings in June!

2. Don’t order mountboard online! I made the mistake of ordering all my frames and mounts online, which meant I wasn’t able to check the quality of the mountboard. When they arrived, I found that the mountboard was of awful quality, with ‘cream core’ (which goes brown over time…) and a plasticy surface. So, in addition to painting, I had to remount the whole collection in the week before the show.

Fortunately, this black core mount was the only one of sufficient quality to be used for the show.

3. Frame everything up at least a week in advance. As many events organisers will know, it’s often the smallest things which trip you up. In my case, not all the frames were designed to be hung in the same way, and only on the day before did I realise that I needed different fixings for some of the pictures.

The thin metal frames needed completely different fixings from the traditional wooden ones, which required a last-minute dash to a DIY store!

4. The difference between a liner and detail round! Somehow, in the midst of all the organisational challenges of the show, I made a step forward in understanding which brushes I use for detailed work. This discovery was made while I was attempting the fox whiskers on my amber palette. Look the at the picture below. If you were to paint a fine line, which brush would you pick up?

Round detail brush on the left and liner on the right.

The teeny tiny one right? Wrong! I have always used these ‘detail round’ brushes for, well, detail. And for most of the detailed work I do, they are a great choice. However, their main function is for ‘on the spot’ work. When I started using my existing brushes for the long whiskers it was infuriating. These tiny brushes hold little paint and so you end up stopping and starting, rather than creating fluid lines. They also easily deposit annoying blobs of paint when you use them for long strokes. So, as I discovered, a long liner brush is required which somehow solves all these issues. I don’t know whether I was more delighted to have found this solution or infuriated that it had taken me this long learn it, but it just shows that with a skill like painting there is always more to learn. However, it turned out alright in the end:

The foxes whiskers had to be repainted, but came out well when I finally used the right brush!

Since my operation my energy has taken a hit and it has been hard to get back into painting. Now it is exciting to look ahead at new projects and pick up some others which fell by the wayside before the show. I have already done another 2p miniature – this time a chestnut horse.

Here I focused on the power and tension in the muscles. I think it is also my first animal miniature which has no background at all. I think this has the effect of making it seem even smaller, because a background in effect gives the animal a miniature world to live in, and so in comparison it looks to be a normal size. Without a background there is no point of reference, so the horse could be any size at all. I’d love to hear what you think and whether you prefer the lack of background.

My immediate next projects are another microcosm (a poppy seed head) and another palette painting (emerald), but beyond these I’m thinking about a few new ideas which aren’t part of an existing ‘series’. I will be giving my patrons the first previews of these, since their support is fundamental to me being able to experiment in this way. If you would like to be one of them, you can get discounts and exclusive previews for as little as £3 per month.

Before I go, a piece of good news. This microcosm, ‘In the Eyes of the Beholder’ has now been accepted into the Society of Graphic Fine Art DRAW exhibition in London. In the way we view the world, we are each a microcosm, taking in and reflecting upon the immensity of life through the tiny window of an eye. If you would like to see this work in person it will be on display at the Menier Gallery between the 1st and 13th October.