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It is there in my peripheral vision. 

Trees out windows. Houses in the trees. The darkness under the hill. The light through the darker trees showing us something. moving in the light, by the edge of the water, under a rock. (The crayfish dances silently with a frog struggling in its claws).

Driving in the car, imaginings un-spool like thread. The delight in the journey, holding back while moving forward, not wanting to arrive. Suspended. The house with the stone lions, the cup of stars.*  The punishment that awaits the run for freedom?

(Pink squares of light through the trees. uncanny dappled light. Pink house through the trees. Dried heads stuck on the outside.)

Something must be set in motion. Something to follow.

Observed landscape

Painting and drawing outdoors is at the heart of my practice and for many years when I didn’t have a studio, the outdoors was my studio. Working in all weather requires preparation but also encourages spontaneity, and experimentation. The experience of working outside informs all areas of my practice, from research, to work in the studio.

*See The Haunting of Hill House, by Shirley Jackson

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