Evening storm … Revisited

I was rummaging through my stuff today and rediscovered this oil version of a soft pastel painting I did a while back. This is A2 on paper .. I’m looking at doing a print of this, anyone interested?

Email me please ☺️

‘Evening Storm over the fields’ Oil on paper A2 (original)

Prints

I am offering prints of the following two soft pastel pieces:

These are limited edition, numbered prints and will be sent with a certificate of authenticity and signed on reverse. I am selling them via Paypal and price includes postage/packaging to UK and Ireland. If you are based outside of the UK, please could you email me (see form below), as the price will be slightly higher. Thank you!

Sunlit Autumn Stream

Print taken from my original soft pastel painting. Print measures 16.5 x 12″ or A3 and is matt finish on photo paper.

£18.00

Shelter in the Woods

Print taken from my original soft pastel painting. Print measures 16.5 x 12″ or A3 and is matt finish on photo paper.

£18.00

Where to now?

I’m having a bit of a directional crisis at the moment and would appreciate some feedback. I recently approached a local gallery for representation and whilst they absolutely love my soft pastel work, they are reticent to take my work on – basically because they battle to actually sell soft pastel landscapes. Whilst the bulk of their comments were really inspirational, I was left wondering whether I’m going in completely the wrong direction.  

I also know, from experience, that pastel works do not sell – no matter how much everyone raves about them, that applause doesn’t often translate into hard cash. So, should I stop working with this medium and concentrate on developing my style with acrylics or oils? 

Anyone who knows me, understands that I do not enjoy working with oils but I decided to have a go with a scene from outside my window yesterday.    This is the source image (quite heavily pixelated):

I toned the paper with an acrylic wash first – I used Arches for Oil paper, which is just about the best you can get and cracked on. 

I use water-soluble oils – mainly Cobra. After waiting for it to dry up a bit overnight, I fiddled about with it some more today and this is where I am now:

Looking out across the winter fields

I frigging hate it! It needs so much more ‘honey’ – it’s not glowing.    I know that if I did this in soft pastels, it would definitely glow and have a bit of spark.  The way it looks now (to me) seems dull and lifeless.   I will probably fiddle about with it more, perhaps with a honey glaze, not sure yet.

I then decided to re-do a soft pastel work that I did last week – this one:

And for this attempt, I used acrylics. This is the result:

‘Sunlit autumn stream – acrylics’

How I test myself with this is to try and take almost the same amount of time that I would have done when making the soft pastel painting. So I forced myself not to fiddle about too much (with the acrylic). I did not use the best quality acrylics, they are student grade. I toned the paper a burnt ochre but now when I remember, I actually used a green toned paper for the pastel one, so maybe that’s why the acrylic version isn’t sparking as much.

Here they are side by side:

Aargh! Come on, give it to me on the nose (I can take it) – should I pack it in with the soft pastels or what?   

Sunlit Autumn Stream

I ordered some Sennelier Pastel Card and it arrived today.

It is very different to Clairefontaine Pastelmat, which has the texture of velvet. This Sennelier card is like a fine grit sandpaper, which has both disadvantages and advantages. It holds A LOT of pastel but because it is so rough, tends to make the pastels crumble, something I’ve never experienced with Pastelmat.

Anycase, for my test piece I did this:

Sunlit Autumn Stream
Sennelier soft pastels on Pastel Card , Caran D’Ache pastel pencils

I used the dark green toned Pastel Card and it is 24x32cm or 9.5 x 12.5 inches

2021 snapshot

Here is a selection of my favourite pieces done during the last plague year (hopefully it’s the last one hey?!) – some of this work was done for course exercises. Thank you for everyone’s support, inspiration and kind comments.

Something in the woods

Found a scrap of Pastelmat, so of course had to do something ‘woodsy’ to it …

The set up
Getting there
‘Shelter’ soft pastels on Pastelmat 24x9cm

I really like trying chiaroscuro effects with pastels. This is not as loose as my other woodsy pieces – maybe ‘cos I was working on such a small piece of Pastelmat and that tends to make me fiddle about. Anyway it was fun to do.

Source image is a still from this video :

Mixed bag of goodies

Been dabbling with new art supplies (Santa was very kind🎅😁)

Acrylic pours

‘Sea of Dreams’ 25x25cm on MDF canvas panel
‘Insomnia’ 20x20cm on MDF canvas panel

pastel

I received some Unison soft pastels over Christmas, so tried them out with the Sennelier and Rembrandt ones, as well as handmade pastels from Cumbria

‘Edge of Tyrells Wood looking towards fields -December 2021’
30x20cm Soft pastels on Pastelmat

Cheers!

Forest

‘Forest’ Soft pastels and ink on Pastelmat
23x23cm

Hope everyone who pops by here during this Silly Season has a phenomenal Christmas and all the very best for 2022!🎄☃️🎁💖🥂🎅

Mixed media on canvas

This is a piece I did recently on a recycled canvas, which had been previously treated to considerable abuse (i.e. covered in concrete and God knows what else). I used soft pastels, inks, pens and then decided to use black acrylic enamel for two of the tree trunks, as I wanted a really black, black for the trunks. I was told that this appears to be a bit on the sinister side, that wasn’t my intention when I did it but I can see that now. Anyway, it’s larger than most of the stuff I’ve done lately.

Dark and light in the forest – mixed media on stretched canvas

I’m also using this post to test out whether it connects and posts to my FB/ Instagram feed. Who knows hey?!

Autumn

Nothing Gold Can Stay

BY ROBERT FROST

Nature’s first green is gold,
Her hardest hue to hold.
Her early leaf’s a flower;
But only so an hour.
Then leaf subsides to leaf.
So Eden sank to grief,
So dawn goes down to day.
Nothing gold can stay.

A response in soft pastel:

I’m possibly going to start changing aspects of my art in coming months as I embark on Level 2 of my degree study. I anticipate a lot of experimentation and deviating from my usual style .. so apologies in advance if some of the things I post on here seem to be at odds with who I am.

Enjoy the wonderful colours of autumn (in your area) 😘

Shelter in the woods

For some time now I’ve been following a guy on YouTube who makes bushcraft videos. He’s based in Turkey. There is no annoying commentary, special effects or music … Just him and his Belgian Malinois trekking out into the forest (or other wilderness areas). It’s so therapeutic watching his videos and has been inspiration for many of my woodland soft pastel paintings. This is a new one:

‘Shelter in the Woods’ soft pastel on Pastelmat 27x20cm

I took a screenshot from his video to use as my reference photo. You can find the video here:

Enjoy!

Soft pastel art

A few new pieces (various sizes – all on Pastelmat)

Smockmill Common Tree Study 19x22cm
Last Poppy 30x45cm

Defining my artists’ voice.

I have been doing a lot of introspection these past few months, trying to understand why I make art. It’s a simple enough question to ask, but in my case, I thought it was an especially difficult question to answer. I just make art, it’s what I’ve always done. Full stop.

In order to try and figure out what your artists’ voice is, you have to have some sort of definable vision. Work created has to be a reflection of that inner consciousness. You are trying to make stuff that is familiar to you, visible and understandable to people around you. Previously, I never stopped to think, when I started working on a piece of art, what I was trying to accomplish with it, what was I trying to say? This stems from my almost total lack of self-confidence or belief in my own self-worth (another story). I have never considered what I wanted to paint or try to say was important, or had any meaning at all, other than the finished piece made me feel good (or not, depending on the fight I had with it).

I have been on a lot of websites lately that try to pin-point how we define commercial or creative success as artists. It’s nice if we sell paintings or obtain recognition from our peers but that’s not what drives us as artists, it’s not the thing I set out to do when I begin a painting. I don’t stand there before I even start and say to myself, ‘Alright, how much money could I make from this thing?’ I don’t think about that at all, I never have and I doubt I ever will. I think it would be the death of me as an artist if the single most important aspect of my creative life was to determine how much money I was going to make from that day’s activities.

I have tried to think if there is one single type of art that I do that readily expresses my personal artistic vision and is relatable or engaging to a broader audience. I tend to flitter about a lot – and that is no help – however, lately I have come to realise that my strengths lie in a particular style of work that I do – landscapes using soft pastels. More and more, it is becoming a genre that I want to stay within.

Whilst thinking about all this, I hurriedly wrote down the following paragraph:

I capture essence, light and the emotion of a scene. I am not concerned with the minutiae of reproduction to create photo-realism. I want you to feel the place, smell it and touch it. I want you to be with me in that wild space and absorb its peace. In so doing, I hope that you will protect and nurture it, with a fierceness that is contagious.

For now, I think that sums it up.

New large Soft Pastel

I have been a bit quiet posting on here lately. It’s not that I’ve done no work, just lazy double posting, as I put a lot of stuff on my Instagram these days.

I have just finished this one:

‘Early autumn woodland stream’

This is on recycled stretched canvas, which I covered with organza, then primed and worked on the painting with charcoal, inks, iso alcohol and soft pastels. It is 3’x4’x1.5″ deep or 100x120x4cm.

Here is a pic of it hanging:

This is a gallery of photos taken whilst I was making it.

Framed!

Received my custom made frame today:

Very pleased with it. It’s available for sale, ready to hang. If interested please email me: lucretia610@gmail.com

Update

I seem to put images and info of new art on Instagram these days and then forget to post here! Sorry🤪

These are some images of latest work:

I also sold this ink monotype piece yesterday 🥰👏😁:

Seascape

Monotype Notecards

i have at last received labels for the backs of my cards, which were professionally printed in the Netherlands.

I am building up a varied range of designs and colour combinations. Coming soon … Watch this space for details of where to buy!

Monotype Notecards

More designs – this time, abstract landscapes, using plants and organic matter to create the images.

I am waiting for the labels, which I ordered last week and then will be taking batches to local card and gift shops in this area – hope i can sell a few!

Monotype landscapes

these were all made using a gel plate, many layers of acrylic paint, plants .. on Japanese paper. Each is about A4

The Creek
A walk on the wild side
A bright day

Monotype Notecards

Trying out monotype techniques on Japanese paper..quite liking the effects. I sell these original notecards ..