2022 a year of massive change in my life.

It started out fairly quietly then … wham! Iceland, Solo Camping (a few times), Wales, Covid, falling on my face, art exhibition, two painting commissions, Liverpool, earth pigments, giving art lessons, starting a new job, getting an increase, having great family get togethers and parties. I’m still obsessed with someone who doesn’t really care but I’m happy. My life has been good this year, despite smashing my face up and a few other injuries/Covid – I can’t complain. My financial situation has improved – due to the new job and yes, I passed Painting 2.1 (67%) … I start the next course ‘How Paintings Work’ in January 2023.

I hope everyone who passes by, has a wonderful time over the festive season. Keep safe, look after yourself and those you care about. Don’t forget to hug someone who needs it. Give love, it may even come back to you (it’s taking its time for me but I never give up hope). Remember you are fabulous. I’ll probably duplicate this post on Instagram.

Here are some of the art highlights in collage format:

Floating Leaf with runes .. series

I have been working ‘small’ for a few weeks and seem to have created a series of paintings using earth pigments, collage, inks and incorporating Elder Futhark runes, which I’m getting a bit fascinated with. Most of these are about 30 x 30 cm square on various papers.

Which one do you think is most successful?


Painting stuff: Well I have decided to abandon producing a large format oil painting of the below scene (which was originally done in soft pastels on organza). It wasn’t speaking to me and felt a bit like reinventing the wheel. I am going to be exhibiting this piece anyway in November, so it will get its moment of glory.

I am concentrating nowadays on working with raw (natural rock or refined) mineral (earth) pigments. So, I’m going to do a large piece using earth on the canvas, which is now prepped and waiting.

Degree stuff: I received the Gdrive folder for my autumn assessment last week and have started uploading all the required course work. Even though I’m at level 2, it doesn’t get any easier, the Uni is constantly changing parameters and rules. I hope I do well with this unit, it was an important one for me.

Work/life stuff: I start a new job on Monday! I am excited, nervous and terrified but looking forward to the structure of an office environment again. I’ve been working for myself for so many years, it will be a nice change to be in an office with a bunch of other mad people.

Camping stuff: I will have to wait for a few months I suppose before I can get some time off and then we’re looking at winter. I was going to go camping this weekend but it had to be cancelled due to all sorts of other things going on. If I get chance I still would like to try and squeeze in a wild camp before the end of this year. I have found another site offering semi-wild woodland camping (close to a river this time) – so I hope to get to that at some point.

Health stuff: Well last weekend I tried to take myself out and almost succeeded. I tripped up in the dark and face planted into a concrete plant container. It made a right mess of the right side of my head and the bruising is now all green, purple and yellow. I went and had x-rays last Monday and nothing broken but very badly bruised and I had concussion for a while. The nausea and dizziness is going away but it is SLOW! The doctor at A&E told me it can take over 2 weeks to recover from something like this – bloody hell.

Other stuff: It’s the 1st October today, geez what happened to this year?! It’s been quite momentous for me and seems to be continuing along those lines (despite the head trauma). Next weekend is my birthday and the Saturday I’m going to London to see the Cezanne exhibition at Tate Modern, I can’t wait for that. Then on the Sunday, I’m having a ‘birthday’ lunch with around 20 people t one of our local restaurants … should be fun.


See ya!

WIP and other news

At the moment, I’m kinda stuck between several things.
Work on this large canvas (in oils) is taking way longer than I initially anticipated and it’s frustrating. I just hope its worth it once finished. The soft pastel version was much easier to produce.

I have also just completed all the submission artwork, including a somewhat taxing essay for the current course assessment. The assessment event itself happens in November and I get results mid-December.

And I’m starting a new job soon😊😁

Woodland camping, foraging and Egg Tempera

I spent a few days solo camping in woodland recently. Whilst there, I ‘foraged’ a tiny bit of orange red pigment (probably the remains of a brick) from the area near my campsite.

I ‘refined’ the pigment in a make shift pestle and mortar (I used a melamine bowl and a smooth pebble).

In order to be able to paint with it, I needed some sort of binder. I didn’t have any glue with me. To try and get over my aversion to using egg yolk as a binder (to make egg tempera), I mixed the pigment with about a teaspoon of yolk from the last remaining egg (the things we do for art). Then I used a twig to make a painting.

It is a tiny study on watercolour paper of a baby hedge. I quite like its simplicity.

‘Hedge’ Egg tempera earth pigment on 300g watercolour paper. 18x8cm or 7x3in

I still, however, don’t like the smell of raw egg yolk in my paint …



I’ve been invited to exhibit around 15 works of mine for a show happening at the beginning of November. The venue is just down the road from me. I exhibited there a few years ago (before the pandemic struck). It’s a bit nerve-wracking trying to figure out what pieces to include. The clientele around here all seem to like ‘pretty pictures’ i.e. figurative stuff that’s instantly recognisable – they don’t tend to go for abstract paintings – so I don’t think my earth pigment pieces will sell at this venue. I decided to focus on soft pastel or mixed media work and so far I’m thinking of these ones:

Framed pieces – one large (Fjord), one medium (storm over fields – A2) and three smaller

Plus 10 x small pieces (all of them are no larger than A3 – mounted but not framed). I’m not sure about including the first two flowery thingies or the monotypes ?? Aargh!

I’ll probably include a selection of hand-made note cards too, as I make these al the time. Anyway, I’ll update this post with more details once they start putting up advertising. Wish me luck!

With apologies to him*

New paper, new challenges. 

I have been thinking a lot about *Cézanne, especially because I will be going to the exhibition at Tate Modern in October.  To try something different, I had a go at producing a quick study based very loosely on his ‘The Bibémus Quarry’ painting. My version is with earth pigments, charcoal and some soft pastels on the Fabriano Pittura paper.  I’m not sure I like this paper yet, the ‘line’ texture on the surface kinda irritates me.  Anyway, we’ll see if it grows on me or not.  

‘After Cézanne‘ Earth pigments, carcoal and soft passtels on 400gsm Fabriano Pittura paper 31x31cm

Cézanne’s original painting was done around about 1895 in oils 65x80cm:

‘The Bibémus Quarry’ Cézanne oils on canvas


I am offering limited edition prints of the following soft pastel pieces:

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″, 42x31cm or A3 and is matt finish on photo paper.


Shelter in the Woods

Print taken from my original soft pastel painting. Print measures 16.5 x 12″, 42x31cm, or A3 and is matt finish on photo paper.



Sadly for me, I can no longer get single sheets of the Giant Atlantis 400gsm paper delivered – unless I buy 10 sheets and at just over £135 (plus delivery) I don’t think I’ll be doing that for a while. Needless to say I’m trying other papers I have to hand today. This time, I used a Fabriano Unica 250gsm paper – yep I know ideally it should be used for printmaking. Don’t judge!

I gave it a good work out, doing an up-scaled version of something I did earlier this year, on the request of my tutor. I don’t make a habit of ‘duplicating’ work I’ve done before so this was very interesting for me. I used almost the same materials. The paper kinda held up but it was close to disintegrating by the time I’d finished.

‘Winter Thaw – upscaled’ 30x30cm
Winter Thaw v2 and original on right

Refined (with a muller) and semi-raw earth pigments, Liquitex acrylic ink and D-R system 3 white acrylic on Fabriano Unica 250gsm paper.
Pigments used:
Perranuthnoe Ochre, Fremington Grey, Gorran Haven Grey, Bideford Black, Geevor Red, Meeth White, Peppercombe Red from the Devon coastline (I think).


I am now quite interested in the idea of making a much larger work – I have canvasses that are large – around A1 and some a bit bigger but I’m thinking of going even larger than that, which is one of the reasons why I’m disappointed with Atlantis’ new restrictions on how to buy their 400gsm watercolour paper, which is really strong.

I didn’t think it would be satisfying for me to try and recreate one of the older pigment paintings – as the first one had come about very much by accident, I wasn’t working to a plan. With the second attempt, I was aware of the paper having limitations and this tended to stop me from experimenting as much as I would have done on a stronger paper. I like working on paper, as opposed to canvas or other solid types of support but perhaps I might find something else that is much more suitable, so I’m going to do some digging about.


Sometimes an image or emotion (or both in this case) lingers in my head and until it’s come out onto the paper or canvas, I can’t really concentrate on much else.

I’ve had this idea to do a portrait of my friend in Turkey for a long time but was nervous to tackle it, in case I couldn’t capture him properly. He has very strong, striking features, which does make it easier I suppose but I have been following him on YouTube for a long time and there is much more to him than just how he looks. It’s trying to get that essence across that I was nervous about.

Anyway last weekend I managed to make it happen. It is a soft pastel portrait and I’m pleased with how it turned out. I know he is! And that’s all that matters at the end of the day.

‘Tahir’ Soft pastels on pastelmat

New work

These are two pieces I recently did towards coursework – made with raw earth pigments, acrylics and inks on paper.

‘Memory 1’ Earth pigments, inks and acrylics on Atlantis 400gsm paper 22x22cm

‘Memory 2’ Earth pigments, inks and acrylics on pre-prepared (with gypsum) Atlantis 400gsm paper 22x22cm


I loosely based this new piece on my own reference photo. I was trying to capture emotion and a sense of the power of the sea in this painting. I used magenta and red, with paynes grey and white … oil paint this time. It’s about A2 (50x37cm actual painting; paper is 60x41cm)

‘Storm’ oil on paper 50x37cm

Some new work

I am having a few issues with WordPress at the moment, don’t quite understand what’s happened but for some reason I can’t post from my phone anymore, which is a bit of a pain in the neck. Anyway, this is an update of work I’ve been doing lately …

I may not be posting here for a while, as I have quite a lot of course work to wade through in coming weeks.


I have just returned from my trip through Wales and Ireland up to Iceland. Yep, it was pretty epic. I took gigs of photos and videos, which I’m sure will be the source of inspiration in my artistic life for a long time to come! The photo above was taken at Dynjandi Falls, which is in the Westfjords area – I thought this was the best place to be throughout the whole trip, completely fell in love with it. The Westfjords region is very remote and I understand they are trying all sorts of initiatives to get people to come and settle there … so that’s on my to-do list at the moment.

The flip side to all this gallivanting around is that I caught the plague bug, so am now in isolation until it goes away. I’ve not had it too bad, just a lot of sneezing, coughing, blowing nose …

Petrified Tree, Karoo

‘Petrified Tree, Karoo’ Earth pigments and mixed media on Arches oil paper 23x31cm

I keep seeing this place in my mind and remember sitting on such a tree many, many years ago eating sandwiches and drinking coffee … we were on a road trip from Johannesburg to Cape Town. I’d never seen a petrified tree before, let alone sat on one, which was just casually dumped there on the side of the road. And to think that piece of stone, which once was a tree, was in the region of 300 to 250 million years old.

For this painting, I used Cobra oil medium with the pigments. Colours used: Trevellas Green, Burnt Umber, Fremington Yellow ochre, Peppercombe Red, Leswidden white, Fremington Grey, Bideford Black, Perranuthnoe ochre. Soft pastels. All on Arches Oil paper – CP Fine 100% pure cotton, 300gm. 23x31cm


‘Emerging’ Mixed media on Fabriano paper 30x30cm

Trevellas green, Leswidden white, Meeth white, Fremington grey. Natural earth pastels, Sennelier pastels, Liquitex inks and charcoal on Fabriano Unica paper.

I remember (part 1)

‘I remember (part 1)’ Janice Scott Mixed media on paper 30x30cm

Continuing my exploration into natural pigments and the theme of liminality – in my case I am exploring the threshold between raw earth pigments and commercially produced art materials. For this piece, I used:
Earth pigments: Trevellas Green, Peppercombe Red
Natural pigment pastels by Florence Paintmakers
Sennelier Soft Pastels
Montana Gold Professional spray paint – Bronze
W&N acrylic paint and inks
Resin pigment inks
Fabriano Unica 50% cotton 250gsm white paper (torn to size)