9 December 2019 – last week of term

It does not seem possible that this is the last week of this term and that I have just over a month to complete all the work required for the latest studio Practice.


I have completed four experimental paintings and I have only a small amount more to do to completed the final two. One of them is up on the wall out of the way but the other is only propped up against the wall.

With two weeks out for Christmas that only leaves four weeks to complete three times this number of works before assessment day and I have not done enough work on paper but I hope to get plenty done at home during the holiday.

I have two larger canvases that are  primed but I cannot get anymore until the new term as the ones I have mean I have reached the total amount I am allowed each term. For this reason I have re-used the stretchers.

At least I have made a start on my research based project which I am doing rather than a dissertation but I do need to read at least another eleven books before I can start writing the draft. This is supposed to be submitted on Friday but I have had to apply for an extension as I am having problems with reading and writing due to needing surgery for a cataract. Hopefully I will be able to have the operation early next year and then I will be able to get back on track for this part of my course. Nineteen books and articles read and notes made but I do need to have read a minimum of twenty. (I am doing well to have got this far.)

I definitely have not completed sufficient experimental work but I have completed one sketchbook and I have started another one, not bad as I only needed a half-full sketchbook. Now is the time to actually start creating resolved outcomes. At least I have a prepared  canvas on  my desk ready for me to start painting it later today.

As it is lunch time I think I had better have something to eat and then start painting, which I have to admit, is the best bit of this course.

Until next time – good bye.

Assessment day and feedback – 25 November 2019

I have now had my assessment and have included photographs of my work. None of the paintings have a name as they are only experimental works but, for the most part, they have worked quite well and I was pleased with the end result. I might have started with the idea of colour and ended up more with petals but they are all colourful and that is the main thing.


I was awarded a 2:1 for this studio practice and now I must focus on the next one and what I will draw and paint.

I decided not to keep any of the experimental work that was not in my sketch books so have had the stretchers recovered so that I can use them again, starting with the six smaller canvases. I have covered four of them with a different background colour.


As you can see they are all different colours but how much of the background colour will remain I have yet to decide. All I know is that the colour is the starting point for each of them.  The two large ones I think I will keep for finished work rather than use for experimental paintings.

I have decided to base it the studio practice on my three visits to Nymans that I made this year, once in late spring, one in summer and one in the autumn. It has given me plenty to think about. I took plenty of photographs and this has given me plenty of research but now I must decide which ones I will actually use to create both the experimental work and the resolved outcomes.

As I have to write a dissertation or use a journal or blog based piece of work, I need to work on that as well as keep on drawing and painting. So much to do and there never seems enough time to do it all.


Pallant House Gallery 12 November 2019

Having recently visited Worthing Museum and Art Gallery where there were two exhibitions focusing on female artists I just had to go to Pallant House Gallery to see the three exhibitions focusing on female artists.

Prunella Clough: A Centenary

I had never heard of this artist and had no realised that there was an exhibition of her work but it is on display in an exhibition on its own in the gallery. I had actually gone to see another exhibition entirely but decided to see what else was on display.

This artist produced both realistic and abstract works and the first one that caught my attention was her painting Fancy Goods Two, (oil on canvas, 1992) and took a close up photograph a detail of the painting. It reminded me of one of my paintings with the way the colour has been applied and has made me feel inspired to apply colours in a new painting in a greater variety then I have been doing.



The one painting in this exhibition that I would love to have on my own wall is Deserted Gravel Pit (circa 1946, oil on board). There is something about this particular painting that drew me in, the colours as well as the subject matter, the mixture of the man-made in the environment.


Radical Women: Jessica Dismorr and her Contemporaries

I have to admit to never having heard of Jessica Dismorr but I had heard of two of her contemporaries, Winifred Nicholson and Barbara Hepworth. This exhibition is of a number of artists that might have been well known at the time but have now been forgotten.

There is no doubt that there are many artists who are not particularly successful during their life but who become well known after their death and their works are sold for large sums of money but it is sad to think that many do not become very successful during their life time and are soon forgotten.

Apparently she was at the forefront of the avant-garde in Britain and involved with the Rhythm group during the late 1910s, as well as vorticism, post-war figuration and the abstraction of the 1930s. The gallery stated that she has since then, unjustly, fallen into obscurity.

This exhibition illustrates how she and her female contemporaries used their art in modernist literature and radical politics. They also were involved with the campaign for women’s suffrage and the anti-fascist organisations of the 1930s.

The artists included are her fellow Rhythmists, Anne Estelle Rice and Ethel Wright; Helen Saunders, the only other female founding signatory of the Vorticists; Paule Vezelay, who showed with Dismorr with the London Group, and Sophie Fedorovitch and Winifred Nicholson who exhibited at the Seven and Five Society in the 1920s. Dismorr was one of only seven British women at D.O.O.D (de Olympiade onder Dictatuur) Amsterdam in 1936, the exhibition designed to counter Josef Goebbels’ Nazi Art Olympiad, and her work is being shown for the first time in the company of other women who exhibited with anti-fascist organisations in the 1930s, including Edith Rimmington, Betty Rea and Barbara Hepworth.

There are 80 works on display, a mixture of painting, sculptures, graphic art and archival materials, some of which have never been exhibited before. A very varied mix of exhibits to view.


This is a self-portrait by Jessica Dismorr and the next image is a ‘Landscape with figures’ circa 1911-12 (oil on panel) which I found myself drawn to but there were plenty of abstract paintings to study. I think the reason I liked the landscape was the outlines and bold colours.


The other one that I was drawn to of hers was ‘The Square’ circa 1913, oil on panel. For me it was quite interesting to see work not on canvas but on a panel as I often work on a board and have only just begun to work more on canvas.


Jann Haworth: Close Up

I came across this exhibition as I was about to enter the Jessica Dismorr one so decided to come back to it and take a look at her work. She makes sculptures out of cloth.


This is teacups and a plate of doughnuts as well as the newspaper. I did wonder whether this is more craft that art but the exhibition refers to her work as sculptures so it is classed as art.


On one wall is a long banner made up of panels, which she created with her daughter Liberty Blake, called Work in Progress (2015 – ongoing, vinyl). It was the result of a number of community workshops using collage of portraits celebrating and acknowledging the contribution of women who are responsible for either cultural or social changes. I recognised some of them, including Yaoi Kusama whose work has inspired some of mine.


It was good to be able to see the work of a number of female artists in one place as so many exhibitions are of the work of men. Their work may be very interesting but I was glad to see the contribution of female artists.

Henry Moore: An Artist and His Patron

Just before I left I popped in to have a quick look at this exhibition which included some of his sheep drawings which I had seen in a book. These are all works on paper. I needed a bit more time to have a really good look at them and hope to be able to go back and look at all three exhibitions again.




Worthing Museum and Art Gallery – Saturday 9 November 2019

I chose to visit the Museum and Art Gallery as there were three exhibitions on that I thought I might find interesting.

I started off by walking round the Sussex Makers exhibition in The Studio. Having enjoyed making lino prints I was intrigued by ‘Halcyon days’ by Sarah Sepe which was made from cut paper cut and lino cut. It was quite small  but I could understand why it was for sale at £95.00.


This one (on the left at the top) was a beach scene with the wind-farm on the horizon. I though they were very clever and liked a number of them such a clever fusion of the new with old, simple but effective.


I admired the work of Sarah Forbes from ‘Summer Into Autumn No 6’ and ‘No 7’ (£200 each)which were drawings in ink of flowers and her ‘Floralfusion 3′ and ’11’  which were water colours. With just a small amount of colour she created bright flowers and leaves.

The other exhibitor whose work I stopped and spent time really studying was that of Barry Williams. I immediately thought of Victoria, a fellow student, who has chosen to write about humour in art for her dissertation.

He describes his work as ‘Conversation Pieces Scenes of Fashionable Life.’  He explained that eighteenth century British painters used the word ‘conversation’ to describe formal group portraits as well as imaginary scenes of fashionable life. He uses recycled glass jars, sardine, mackerel and SPAM cans, together with pieces of beach combed driftwood and brick. He aims to bring the ‘Conversation Piece’ into the 21st century.DSC03148.JPG
‘Its all in foreign’ (£105.00) shown above and below ‘Jason’s Dilemma’ (£85.00).
I then went up to the second exhibition ‘Female Voices’ which focuses on artwork and costumes that they have in their collection.
I believe that I have seen this painting in another exhibition but it was good to see it again, Stapleford Village (in Nottinghamshire) by Margaret Fisher Prout, oil on board. Her father was a painter (Mark Fisher RA) and after receiving her initial art training from him she studied at the Slade School of Art.
This school was founded in 1871 and allowed both make and female students to study together. When the Royal Academy first accepted female students they were not permitted to attend life classes which limited the training available for female artists.
I found the pastel portrait of Nancy Carter (c1825) quite interesting, not just because she ran Carter’s Library, in Warwick Street Worthing but the presumption that it was a study for a miniature, it looks like a finished portrait. The artist was Jane Drummond who with her two sisters were known for specialising in portrait miniatures. She went to Calcutta in 1833 but found very few patrons so work dried up.
In this exhibition are a number of portraits of various female sitters but not many portraits by lady artists although the curator after whom the Norwood Gallery was named did sit for a female artist.
There were also costumes from the Museums collection by Biba and Laura Ashley amongst others but I decided that I would need to visit this exhibition a second time to study them.
The final exhibition in the Norwood Gallery is The Ladies’ Paradise containing exquisite drawings by the commercial artist Ida Pritchard alongside costume and accessories of the period from the collections. They are of an Edwardian department store fashion as she was employed by Peter Robinson’s of Oxford Street from circa 1906 to 1914. She did not have any artistic training after leaving school she worked for many years as a commercial artist producing images for advertisements which appeared in fashionable publications such as The Queen and The Ladies’ Field.
I was intrigued to learn that Ida and her colleagues worked with live models who would wear the latest fashions and model in the large shop windows, with the illustrators sitting in the windows, sketching them, thus drawing large crowds on the busy pavements outside.

Such a different way of life and style of dressing, it made feel glad that we know longer are expected to wear such restrictive corsets.

All three exhibitions are worth visiting again and I will go back and spend time studying other parts of them.

4 November 2011

There are only a few days before our first assessment, at least our Creative Research has been moved and is not required for another week.

I have completed two sketchbooks and today I finished my final painting. All this leaves is for me to complete my Contextual Research folder and check that I have enough in my Visual Research one.

DSC03129 - edited green background

This painting does not have a name but I have added a small amount more and now I think it needs to be left so that I do not over paint it. I have come to the conclusion that applying a colour for the background and then applying the colour on top works better for me than to just keep applying colour as in the last painting that I have been working on.

DSC03128 - edited

I must admit that I prefer the green coming through rather than just applying small pieces of colour to cover the background. To my mind it looks better and adds a bit of reality to the image, not that it is supposed to be a realistic representation of petals.

For this Studio Practice I decided to use petals, rather than the whole flower, as a starting point but whether I continue with this next time or not, I have yet to decide. Perhaps I will be able to make up my mind once they have all been hung on the wall.

This series of paintings have been all about the colour and petals and nothing else. Even if this does not come through, I hope it shows a positive representation which is reminiscent of summer.


Reading Week and Exhibition – 31 October 2019

It is Reading Week this week and also I have an exhibition with another student at Colonnade House. I may not have sold any paintings but I have received some very positive feedback.


The paintings look quite good hanging up on the wall, unfortunately, I ended up capturing my reflection at the same time.

The somehow look different from when I had them up for the assessment but on that occasion they were all hanging in a row.

As I have been in the place for the past two days and will be there again for the next two, I won’t get to see the new exhibition in Worthing Museum and Art Gallery nor will I get to Pallant House to see the new on that starts on 2 November.

There are three on at the moment in Worthing, Sussex Makers which is a range of contemporary art and craft where items are for sale, The Ladies’ Paradise which explores the creation of consumer desire in early 20th century British fashion and the final one is Female Voices which is a celebration of female artists and designers whose work forms part of the museum’s own collection.

Pallant House Gallery has ‘Radical Women: Jessica Dsimorr and her Contemporaries’  another exhibition centering on female art.

I wonder what it is that has drawn both galleries to look at females in art. There is also an exhibition of the work of Artemisia Gentileschi on at present in the National Gallery which I think might be interesting. I would go up if to London if I were not involved this week in my own exhibition along with a fellow student.


As can be seen in the photograph, her work is on the left and mine are on the right, they do link together as many of her works are about lines just as I have lines in my work. The only difference is Ella basis her work on what she can see under the microscope.

It is only a few weeks before assessment day of my latest studio practice and then the second part of the dissertation has to be finished. A lot to do and not long to do it.



23 October 2019 – College Open Day

As the college had an open day on Saturday I took the opportunity to come in and do some more painting.

Much to my delight two of my paintings were borrowed and placed on display.  ‘Get Ready to Go’ was in the entrance so that everyone would have to go past it when they entered and left. My other large one was in the refectory.



‘Variations’ was just propped up at one end but hopefully they will now find a permanent place on the walls of the college.


As you can see I was very busy as all three items were plain when I started in the morning. The one on white, propped up, will be totally covered and none of the white will be on display but how much more I will add to the one on the green background I have yet to decide.

I need to complete more works on paper and in my second sketchbook so that I should be able to have sufficient for the assessment next month.