This post contains a sequence of such photographs, with notes, for the painting of Kimmeridge, which was painted on a clear-gessoed linen canvas with the six tube version of my standard palette: burnt umber, ultramarine, phthalo blue, lemon yellow, rose madder quiacridone. Most of the knife work was done with a Winsor and Newton no.27, with a smaller knife (Langnickel LP-1) used later on. I also used a silicone colour shaper for a few details and my signature.
I'm working from a photograph that I took in 2014. I hadn't seen the possibilities of the shot until now (except maybe in the instant that I took it). I remember the day. It was hot, very hot for England, the heat of the sun bouncing off the rocks. My husband and children were in and out of the sea but I felt unable, uncertain of my physicality, uncomfortable in the heat and unsure of my balance - and besides, I wanted to sketch. I made a very bad, overworked and tiny watercolour of the distant Clavell Tower. And I took lots of photographs.
This was one of them.
|You don't get to see my source photographs very often.|
Nearly three years later, I picked it out for the studio treatment. There was a lot of fiddly detail that would challenge the knife; of course, it wouldn't all go in, but if there was any chance of making the Clavell Tower recognisable in any way, I had to use a fairly large canvas. And I was trying not to think about the seaweed, but its colours anchored the image and justified the long format, so I would need to make them work... somehow.
|Oh, thank goodness for that. There's the sky. And some pink bits.|