Edgmond House Commission

A private commission produced this winter as a surprise 50th birthday present for the owner of this wonderful property near Newport, Shropshire. He had previously seen and expressed interest in the Weston Park interior paintings, so his wife knew it would be something of interest.

I wanted a composition that would combine a view out to the garden, in particular capturing the height of the tall tree, with an unusual depiction of the lounge. The enormous windows flood this room with natural light and give an enjoyable comparison to the artificial wall lights and chandelier which is sending out shafts of colour across the white ceiling.

I enjoyed depicting the mass of the material of the large curtains in the foreground, trying to really reflect their weight. This reminded me of one of Lucian Freud's earlier paintings which is primarily a study of gravity with a dense coat hanging alongside a gravity defying plant delicately meandering upwards.

Large Interior, Paddington, Lucian Freud

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The painting was presented on the birthday with the room still empty on the understanding I could return to paint in family figures if required.

After some deliberation this was agreed and I painted in three of the family's children. We were all keen to keep the depiction of the family informal and almost incidental. I am pleased with the results.

Altogether this piece was 6 days work spread over a few weeks.

Oil Painting 59 - Still life with oil lamp

A gift from mother this oil lamp has proved surprisingly useful when abandoning the world of mains electricity. It can also be mesmerising to watch, although writing this makes me question our decision to live without a television.

Trying to sum up this years experience in a series of paintings has guided me towards wanting to paint some of the few objects that occupied our limited space and have made the journey with us, and in turn have me tackle a few still life paintings which I haven't explored much at all in the last few years. 

The ceramic piece behind the lamp is a hand thrown faceted bottle vase with a celadon blue glaze by a talented potter and good friend Alex Shimwell. http://www.theridgewaygallery.co.uk/ArtList.aspx?artistid=149&artworkid=3008

As this is my first venture into still life for some time I do not feel I can talk with any real authority. I spent a lot of time at college looking at Paul Cezanne's still lifes ...

Still life with bottles and apples - Paul Cezanne

... and the obvious Van Gogh is never far away...


Still Life Glass with Wild Flowers - Vincent Van Gogh

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Outside of brushwork and colour use I have not really abstracted the subject a great deal. I have enjoyed the dark band of the edge of the table mat the lamp is sat on bouncing around the frame forming strong diagonals but in honesty this was not premeditated and just something I began to exaggerate as the painting developed. What is interesting for me is that when you 'zoom in' to a relatively small scale inanimate subject and leave the composition quite sparse it exposes / lays bare your treatment of the paint, your handwriting, or 'style' for want of a better word.

I often liken an artists gesture to that of a singer's voice, Van Gogh's mark-making is so very individual and distinctive. I can only hope through work and love of the craft that a similar iconic visual language comes through in my work.

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Oil Painting 58 - Winter Scene from the bow

Quite a small canvas I wanted to reflect the warmth of being inside looking out to the cold snow covered landscape. I dipped in and out of this one over about four sessions whilst also working on Oil Painting 59 - Still life with oil lamp. A snowy landscape is such a fleeting sensation and the view and reflecting light had altered dramatically with each visit but I feel there is enough visually for the subject to work, the warmth of the varnished oak inside contrasts nicely. This interior exterior contrast painting reminded me of a previous called 'Kitchen Window at night' painted outside looking in, on a trip to Provence after a night unable to sleep because of excess beer and bread.

Other artists that spring to mind that I am sure have had an influence in this manner of work are Edward Hopper voyeuristic painting looking into domestic scenes from outside,

Source: wikipaintings.org via Rob Pointon on Pinterest

or Henri Matisse's views through balcony windows.

Source: wikipaintings.org via Rob Pointon on Pinterest

Oil Painting 44 - Worcester Cathedral Interior

I am especially grateful to the management at Worcester Cathedral for allowing the benefits of my work to overrule the hazards and to grant me access to paint inside the Cathedral.

This interior space is beyond breathtaking, the height, space and unquestionable beauty surround you. Whereas I was struggling to find an angle that satisfied with Oil Painting 43 of the exterior, there was absolutely no problem in locating a vantage point inside the building. This for me, sits alongside some of the best Cathedral Interiors in the North of France. I can now, for the next four days at least, walk to this incredible subject from where I wake, and spend full days responding. The colours change fabulously throughout the day as the sun comes and goes throughout the different stained glass, highlighting the green and golds of the naked cotswold stone. 

I knew instantly this subject would lend itself to my approach and I could produce an individual take with challenging perspectives, gestural brushstrokes whipping the eye around to reflect the enormity and strength of the pillars, and draw out and exaggerate some of the colour subtleties within the stonework in the changing light.

Because there was just so much to go at visually I ended up attempting to contain as much as possible by standing in the central cross of the building in a position where by swinging around I could view down the Nave, both transepts and down towards the Lady Chapel, basically a panorama just short of 360 degrees catching the north, east, south and western stained glass windows in one image. Panning round so far enables you to convincingly wave the horizon and bring in a sense of height. 

This was the main struggle with this painting, wanting to spin right the way round but also knowing the overriding sensation of being in this space, and therefore the main subject, is the gravity defying height. Spinning too much and creating a thin panorama that loses that feeling of looking up would be a failure. The easiest way for me to communicate the height would be flip the panorama on its side, so you simply pan from the floor to the ceiling, which is exactly what I did Oil Painting 42 - Pugin's Gem. This piece is the straight forward symmetrical depiction of the interior of a gothic space and I wasn't surprised to find a photo with nearly the same composition in The Pugin Centre in Cheadle after starting the piece. No, I had got the appeal of the symmetry out of my system with that painting and now wanted to play games with recording right the way around me, looking up and down, even skewing and distorting some aspects to sneak the transept organ in on the right.

It was a compositional struggle that stretched me to the point of not knowing, even after a full days work, if it would read clearly as a representation of space or not. There was a eureka moment when i painted the pattern of the tiles in the central space that helped describe the entire space. All of a sudden the piece then seemed to click with the average viewer, and I gained the approval of the general public which until then had obviously been unsure! This happens a lot with the painting process in public and I often rush to get to the stage where people can read where I am going with the painting, as the activity becomes more enjoyable after that and you do not feel the end to constantly explain yourself. Believe me, a full day of rushed work and doubt, with confused glances from passers by, is a long time!

Gradually though the piece developed and the community of the Cathedral became warmer and warmer to having a painter in with them. I thoroughly enjoyed my time in the Cathedral, met some wonderful people, and would love the opportunity to spend more time there. A residency either with the Cathedral or the local school would be ideal where I could have more time  to explore spacial representations in this the most breathtaking of interiors. This is something I shall certainly be pursuing once I have finished dragging this 16 tonne tub around the country.

Oil Painting 28 - The Salon and Marble Hall at Weston

Last year, 2011, I started a wonderful working relationship with the Weston Park Foundation. It began with entering their Halls Fine Art Open Competition in the superb Granary Gallery space at Weston, having 2 out of 3 submitted selected, and then receiving the wonderful news that one of the pieces, 'Etruria Roundabout' had won the regional artist prize of £500 for Staffordshire and Cheshire. Etruria Roundabout is one of my personal favourites and has always proved popular, also winning the Visitor's Choice Prize at The Staffordshire Open at The Shire Hall Gallery, Stafford, but for one reason or another it has not found a buyer yet. I guess not everyone wishes to have a busy concrete traffic spot on their walls!

Winning the prize at the Halls Open at Weston introduced my agent and I to the art curator and education team there and we were offered a group show in the December months responding to the theme of Weston Park itself and celebrating the 25 years the foundation has been established. Participating in this exhibition was one of my career highlights as it lead to months of directly responding to the House and grounds as well as gaining entry to paint the main stage at the V Festival. Click here to see more details on the exhibition and the body of work.

So, when I knew we would be close by on the boat, moored at the beautiful village of Wheaton Aston and then Stretton Aqueduct, I thought I would revisit the fascinating interiors of the House at Weston with Oil Painting 28 - The Salon and Marble Hall. The other interiors I have painted at the house are The Library and The Dining Room and The British Guild of Travel Writers' Dinner at Weston.

It was ideal indoor subject matter with the dismal weather continuing, but more than that I really enjoyed an unusual depiction of space interpreting a chequered floor. Along with looking down railway lines and telegraph poles a chequered floor is a much-used device for illustrating space and perspective.

MC Escher often played his visual illusion games using chequered flooring, the study of Escher's perspective treatment formed part of my wide angle dissertation study during my Fine Art BA Hons. I think the stark contrast of black and white patterned squares allow immediate interpretation of the plane in space you are trying to depict, and as we have become so familiar with them, they can facilate and bring a normality to quite complex spacial representations. Another more recent artistic treatment of distorting chequered flooring can be seen in some of Tim Burton's films 'Nightmare before Christmas' and 'Alice in Wonderand'.

I have waved the horizon in the piece to draw attention to looking down at the tiles on the right hand side and looking up at skylight in the salon on the left. 

I have always had an unusual education of the subject whenever painting in the house at Weston, the tour guides escorting groups round and informing about every piece of art in the room I am looking at is a great way to learn about what you are painting. Now I know this room was originally a courtyard, I am positioned next to a painting of a 127 year old woman who once walked from Staffordshire to London, the painting of the ships in the background caused distress to a group of yacht owners because the wind is wrong. There is another popular painting in the room of a little girl who has been whipped in her classes, the chairs are all of the studio of Chippendale, the chequered flooring is welsh slate and Italian marble and original to the house. When Birmingham housed the G8 Summit the world leaders had a day of relaxation here at Weston and watched the cup final in this room whilst Tony Blair and Bill Clinton were being interviewed on the lawn at the front by David Frost.

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