My new look website is operational

I have re-launched my website.  It was in need of updating, and had been in situ for 10 years in it's current format.  I have my suspicions that the amount of java that was in the template I had been using was detrimental to the ease of use with smartphones too, but I can't complain it served me well for the decade at a cost of about $60 when I bought the license to use it.  

I decided to keep the new (improved, I hope) site simple.  It is just a basic html and css setup with little to download other than the images to facilitate smart phone accessibility.  Hopefully it will bring a level of sales similar to the old site when  I was actually updating it.  I'd messed up my shopping cart for about the last two years without realising it by changing my email address and forgetting to update the paypal shopping cart- even though the new email is on the same account the paypal cart was only operating - or not operating as the case was- on the now defunct email.
Thankfully a buyer contacted me to let me know there was a problem, hence the rush to update without fully testing.  I still need to finish off my alt tags and keywords etc. but the site is fully operational (as far as I know until someone actually buys from it again ;)) I added a link to here on the site to add to the functionality.

Back from Monet's world, and into my own...

 Here are some of the promised Photographs from Giverny.  The gardens are beautiful, if a little crowded for any real atmosphere.
I did a couple of watercolour sketches while I was there, just for the sake of doing it as much as anything else.
We wandered through the house (surprisingly spacious) and studio (not as big as I expected) also and explored Monet's collection of Japanese prints which are on display on the walls where hed left them.

We visited the Orangerie the following day to see the Waterlilly paintings in situ (as well as the other art on view downstairs) .A pleasing experience enhanced by the visit to the gardens. 

the watergarden

 

the main avenue

the river Ru

the sketching artist

view to the Japanese bridge

 the lily pond from beside the bridge

 

I'm busy fishing for the next two weeks, but I'm going to try to get started on some work.   Monet's waterlillies have encouraged me to go large again.  looking around at the expansive canvases reminded me why I love to paint big canvases.  I think the recent smaller work may have stifled my creativity somewhat, but it's OK.  I'm cured.

Rambling, rather than working...

I am still very busy with non-art work, but with one week to go to my studio sale (sat 16th @ Village framing in Rathfarnham) I need to get everything ready for moving. I want to pull a few more prints too, just so I have a few lower priced items available. Don't forget offers are accepted for any work up on my website this week... The studio sale is intended to raise some funds towards my International fishing duties as much as to empty some excess work from my studio. Representing the country proves quite expensive due to a serious lack of support from the national sporting bodies as anglers don't have official coaching staff, with a recognised coaching qualification... ... how do you manage to do that! At our level the main areas to coach such as casting techniques and reading water are automatic. A lot of our (well mine anyway) success is due to the un-explainable, much less the un-teachable, a sort of sixth sense, a combination of thinking like a fish and observation, and an ability to spot small almost imperceptible movement below the water and in the wave patterns. Not so much the fish I catch, but seeing how many I am getting to look at my flies but not catching that tells me I need to alter something. Again the something to alter is usually instinct, or if not, then a process of elimination, starting with what I think is the most likely problem. No coach can do the thinking for me.
Rant over.... I have an American Artist and his wife coming to visit later in the month, we will be taking part in Art in the open, in Wexford at the end of the month. This will be a chance for me to do some plein air work, (or should I say push me to do some) before my trip to Starry Night in New Mexico next spring.
..... I do seem to do a lot of travelling for an impoverished artist... ...imagine how much I'd do if I won the Lotto..

Starting work again at last....

I have been into the studio and made a start on another painting. I did not manage to get a lot of work done, but I feel better for starting. Although I am back on more steroids I still have a bit of a wheeze and remnants of the cough. My energy levels are quite high, but my fitness levels aren't, so I start something and realize halfway through I can't carry on.
I have planned out and laid the base coats on the painting, and left them to dry out. At the moment the background layer is just a strong dark deep red, which will more or less dissapear as the work progresses. My next step is to start adding details into the base painting of the sea-bream so I can be fairly set in the colouring and style of this aspect before I work on the peacock feathers and the background. I will take a photo of this first stage before I start, and another at the end of my next session. I am not sure if I will post them as works-in-progress though, I may post the full series with the finished piece in one post, or I may not post them at all. I think it will depend on how the work progresses, and how happy I am with the way it has gone.
Working on and through ideas, does not always allow the process to be visible, as they can become very confused and cluttered and even worse unresolved. I see the proposed painting in my mind, and at first it seems to gel and work, but when it becomes a physical object that can be analysed and studied it often shows weaknesses not apparent in the planning -- a bit like a dream not reflecting the reality.

I am hoping to start the work using previous studies and images rather than the actual still-life subject (another sea-bream) due to the short bursts I will be working in. With so little fitness short spells of work are going to be called for and I will end up using a lot of fish during work on one piece if I don't. I will save the fish in the freezer until I start working with the peacock feathers. I will need to see the way one of the feathers lays across the fish, as I intend to have one doing that in the painting -- but this is subject to change.

Excitement in the fish pond.

Laying eggs in the weed

I have been working away for the last few days. However I have been sidetracked today though, my Goldfish in the pond have been spawning all day. They have laid a large amount of eggs amongst the weed and blanket weed around the edges.The eggs are about 1.5 mm in diameter, and hopefully in a week or so a fair proportion of them should hatch out.

Fish eggs.

I will have to try and net them out of the pond though. Gold fish are not adverse to eating little fish. I will try to remove a lot of them into a smaller tank, upstream of the main pond, and leave them there until they get a bit bigger.

None of the fry survived last year, I had three left at the beginning of winter but they have not appeared this year, so I assume they died in the cold weather. Either eaten or from lack of microscopic food. The fish spawned very late last year because of the cold summer (about September) so the fry were very small to overwinter.

The painting has been a little slow..

I am working on two commissions and they are proving a little difficult, mainly because I want to get back to my fish paintings. However the two commissions are needed fairly soon, so needs must.

I am waiting to hear back from the venue for my Maltese show, but I suppose they are busy with other things, but I would like to know if they want some more larger works than I have suggested. I'd like to firm up the date also, so I can book flights etc. for the opening.

In the meantime I'm going back out to enjoy this weekends sunshine, this is proving to be a scorcher, 24-25 degrees C. A big change from 10 or 11 last week.!!

This is a video of the fish charging around, the cock fish chasing the hens to start them spawning. Those at the edge resting are all spawned out.

Computers down, paintings up...

I am not on my own computers at the moment so I am still unable to upload pictures. My studio desktop is not communicating with the wireless base station for some un-explained reason. My laptop's power chord is kaput, and I'm waiting for a replacement to arrive. Therefore I'm borrowing C's laptop to post. Work is progressing, I am still working on fish themed work, but I am also working on other pieces for sales/commissions. Business has picked up a little recently, which is just as well since I have a few bills coming due, van insurance, week-away-with-the-lads-fishing, a need for New brushes, some canvas, paint.....ah well! easy come easier to go as they say.....what they forget to mention is money has a habit of being more Hard to come by, easy to go.

I had a nice surprise yesterday when I learned three small works had sold. They were in a venue that while I hadn't forgotten about, were not expected to start selling for a month or two.
They now want more works, and since they are all of a standard size have said they will organise the framing of the pieces.

Another pleasant little chore for me. Consequently, this will be another short post....things to do, people to see..and painting to be done.

Home again,

I am just back home from Malta. We spent a week in the sun, complete with camera, sketchbook, pencils, etc. I also visited an artist friend over there too, and it was a very enjoyable trip.
I have come back with lots of reference material for some paintings, and the offer of a one man show next year. At this time I already have two offers of exhibitions abroad next year, the one in Malta and in Athens, Greece, that was offered just before I left for Malta.
I will probably not start work until next week though, as I am tired at the moment. I also need to get organised for a couple of visitors to my studio. Judge an Art competition tomorrow, and a few other jobs that are overdue. In short I'm going to be busy this week, I have a party on the 12th, a lunch engagement on thursday, and my usual night out with the boys......

......as I've said many times.....it's a hard life, but somebody's got to do it...

muddy yellows.....

I have finally finished (sort of) my latest work. It is an atmospheric rendering of a Venitian canal scene. I will endeavour to upload a photo later.

Before I do that I have to send two works by courier tomorrow, deliver another six for an exhibition tomorrow evening, on thursday evening I have to be at an art sale I am taking part in, and I have another opening on Friday for another group show in which I am included (the six works I'm delivering tomorrow evening).

With all this going on I also need to arrange a studio viewing for a patron and arrange delivery or collection for two other works that need framing for Christmas.
I am told by one of my Galleries that there is a deposit paid on another work also, to be collected before Christmas.

With all the talk of World recession, it's very nice to be so busy. It just goes to prove, quality art will always sell, and in turbid times it is a realistic investment opportunity. I have however refrained from increasing my prices this year. Mainly because I feel in the current economic climate holding values is almost as good as increasing them. Although I absolutely refused to reduce them earlier on when some Galleries thought the economic downturn warranted lower prices. I believe I owe it to my collectors to protect their investments. Sadly I noticed recently some artists resorting to "half price sales" at an art fair, to the detriment of all the participants.
I am glad I was not taking part in the fair, for I feel all the participants, including high end galleries were tarred with the same brush, ie. Bargain basement art-works.

I am going to climb down off my soap-box now, and get back to work, I have been scrutinising the latest masterpiece, knowing there was a little something I wasn't happy with and I have just seen it. I need to adjust the tone slightly on the yellow, it is looking a little dirty/muddy, I overworked it during the mixing I think.

Autumn is arriving...

It's the end of the month already. The lack of posts on my blog gives testament to the fact I have been busy painting. The work has gone quite well too.
I will try to get more posting done over the next few months, but in reality I have not had a lot of interesting news recently. Lets face it, who wants to hear that I have worked this week, last week, next week....etc. I need angst or something interesting to write about.
....Now I could start on about the weather again.......autumn has arrived and the leaves are starting to turn already, it will be soon time to start painting still-life for the winter.

Just a small update..

I am still working on more pond paintings, with the humid thundery weather of the last few days the oil paint has been slow to dry. It still surprises me at how dependent on the weather conditions drying time can be even while using drying mediums. I still need to do more work in the studio too, I have not finished my re-organising yet.
I will be doing some plein air landscapes shortly, at least if the weather is amenable I will. I am hoping to get a few days here and there around the country so I have some varied Irish landscapes to hopefully organise a show in the US in a while. I haven't had a US show in a couple of years, but at the same time I have not really had that many Irish landscapes "in stock" in a few years to organise a show featuring landscapes of Ireland.
I have been meaning to get enough together for quite a while...the world is paved with good intentions....and I just haven't been in the mindset to do it.

I have set up a page on Facebook this week, mainly to keep in contact with family members abroad, but feel free to look me up...:)

Finn Eces (Finnegas) Salmon of Knowledge, final stages.

Here is the finished painting of Finn Eces' salmon. I added two more hazelnuts, mainly to help break the horizontal across the back of the painting. I had considered putting the nine nuts the salmon was said to have eaten in the myth but I don't really see a need to be a slave to the legend.


I am considering doing a series based on the Irish legends and have started another work, the hound of Culainn the Blacksmith, reputed to have been slain by the boy Setanta, thereafter known as Cuchulainn.

bradán feasa, a painting and searching for the inspiration....

I have not posted in a while, I have been busy both with an exhibition and also re-evaluating my art. I feel I have to move forward with my painting. I have not been totally happy with my work recently, it is/was in a rut. I have decided to move from my normal representational work further into a more stylised conceptual way of painting. I may even move more into semi-abstract works if the fancy takes me.



I suppose I am overdue a change, I have been working on a painting, based on my lino print of the salmon of knowledge, Bradán feasa in the Irish language.

Here are some photographs of the work in progress, although it needs to progress quite a bit further yet.




















the first stage, drawn in charcoal and fixed. The hazelnuts have been painted green.










a base colour in position



further work, mainly on the salmon, note the repositioning of the Newgrange passage tomb to below the hill-line








the present stage of the work


















detail of the salmon





I will give an update later in the week, after I do a bit more to the painting.

Incidently, it is acrylic on canvas, 24 by 20 inches.





The painting has an accumulation of themes, the salmon is said to have gained it's knowledge from the hazelnuts that grew on trees around the magical spring from where the rivers of Ireland grew, hence the contorted hazel trees and hazel nuts. The Salmon was caught in the river Boyne, which runs through the valley at Newgrange, two more elements of the work. In the clouds and river, the swirls of the contorted hazel are echoed, also encompassing the spiral decoration from pre-christian celtic art found on the stones at Newgrange. All of which combine to create a history of the salmon of knowledge while the dissapearing river leaves us seeking knowledge of where it is going.

More paintings..

I have been working away yesterday and today, I also picked up some more supplies this morning. The work is going well, but I am not sure I really want to continue with it. My lack of colour in them is making me uneasy. They are of the western loughs, irish landscapes with lots of water and quite atmospheric, but not my usual work.

I will evaluate some of it over the next few days, and decide if it is worth continuing with.

Two recent Irish landscape paintings.

Here are two recent works, the first is a view of Connemara. Acrylic on canvas, 18 by 14 inches.

The dry dead foliage gives the landscape a warm feel with any sunshine. The light picks up the reds and ochres of the dormant foliage, while the pools of water amongst the bog sparkle with light. The reflections in the puddles and pools give a contrasing coolness to the warmth of the landscape.



More details of the paintings can be found on my website .
The second painting is an oil on canvas, of the same dimensions and is a painting of Lough Carra in County Mayo. I like the oil painting particularly, as it gives the feeling of calm that this particular lough gives. Lough Carra is the smallest of the western lakes at 4000 acres. It is an intricate Lough with many bays and points. A clear lake it is the safest of the western lakes, and rarely gets the rough waves the others can experience. The light limestone marl gives the shorelines the characteristic 'white' shallows, dropping off into deep dark water. It is along these edges the best of the trout fishing is found. This second painting is also on my website and is available to buy direct.

All prepared at last!

All my paintings are ready for the exhibition, I just need to wrap and pack for transport. I will have an early start tomorrow. It is a long drive down, and It will probably be a fourteen to sixteen hour day in total. The paintings look very good in the frames, that final finishing off makes a big difference.
I can honestly say I am pleased with the works going to the show. If they don't sell well I will be extremely surprised!. The subject matter is a good one for the area, and even if I say it myself the work is 100%, both artistically and for uniqueness.

More lino-cut prints

I have been working on my prints for the Ex Libris exhibition in Belgrade. The theme is to be Lighthouse. I have two works at the moment one based on a wood cut I did earlier with an ogham stone, Newgrange monument and the salmon of Knowledge. The woodcut is too big for the exhibition, it is 12 by 10 inches, but I need them to be 15 by 10 cm, 6 by 4 inches max.

I have redone the block as a linocut, the print I have is not quite right yet. I need to reprint it on a different paper, the other paper I used has too much texture.
I also did a linocut of a lighthouse but I am not really very happy with it. It is too simple and dark.

another Tunisian coast seascape study, step by step

Blocked in

reworking the sea

into the shallow water

and next I work the rocks

some general highlights

more highlights to give the movement in the water and wave lines added

final highlights and details

about 12 inches square, acrylic on canvas. I am building up a collection of these small works, soon I will start on a large scale piece on the subject.

two small seascapes

Here are two quick studies, acrylic on canvas, about 10 inches square. They are both based on the mediterranean coast again. They are just basic square works, but divided in half, blue and green. This has been varied by splitting the top square again, the lower one in half again above and graduated colour below. In the first painting, the movement in the water and the cloud in the sky have broken up the stripes, thus disguising the geometric form of the painting. In the second, less worked piece the cloud does not break the top strip to a great extent leaving it stronger looking even though it is less pronounced than in the first painting. The gradual and radial colour change of the sea help do the same.






SOLD

These are two small experimental paintings which will help when I come to do a larger painting based on the same principle.

SOLD Seascape 2,

The first work out of my new studio..

Is an acrylic on canvas, 24 by 18 inches. It is based on my Tunisian coast studies. I photographed it when I had the base work painted in. These base colours look a little stark, but you will notice how much they soften with the extra layers of paint in the final picture. I intend to do a few of these seascapes, and then I hope to paint a couple of larger paintings in oils when I have explored the ideas a bit further. The acrylic paint is a bit flatter than the oils would be, but because they dry so much quicker I can develope my ideas more rapidly.



For my next painting I will try to get more vibration within the sea itself. I like the movement within this one but I feel I can get a deeper look to the movement if I use less brushwork, but more careful blending of colour tones. The similar tones of two colours react when laid down beside each other, giving the effect of a vibration within the painting. This will aid the movement of the water in the seascape.

PS. in the actual painting the rocks sit below the surface of the water, but not quite as well in the photograph. I must look at the painting again to make sure.

Moving of my studio is complete.

I have moved all my work into the new studio, even this piece (from a study I did in Florence) which is seven feet by four and 3/4 ft. It is a little bit too big for the space though.

I also have moved all of my paints, brushes, easels, my painting table, computor etc. into the unit. I have enough space to work, although with the lower ceiling I may have difficulty working on the larger canvases. I have less room to display finished paintings, but no-one will be coming in to look anyway. I have all the works stacked up against one side wall of the studio. I will create a rack for them later. I also moved my bookcase and books in while I was at it, in fact as soon as I connect the studio for electricity it will be ready for me to paint in. I accomplished all this by rigging a temporary platform into the studio. I have removed it again though as I used borrowed materials to do it. I hope to do the permanent job over the next week or two, but I can get into the unit by stepping across the gap in the meantime. I am looking forward to getting stuck in to work soon, but after the last few days I need a break, so I will take a day off tomorrow.