Tag Archives: magical hummingbirds

Fear and Love

There are two basic motivating forces: fear and love.

“When we are afraid, we pull back from life.   When we are in love, we open to all that life has to offer with passion, excitement and acceptance.   We need to learn to love ourselves first, in all our glory and imperfections.   If we cannot love ourselves, we cannot fully open to our ability to love others or our potential to create.    Evolution and all hopes for a better world rest in the fearlessness and open hearted vision of people who embrace life.”     John Lennon.

watercolour/gouache20-11-15 - 1 (462)All of life in interconnected.     Mother Nature and the Magical Hummingbirds  remind us of this as they work together rather than in opposition.

watercolour/gouache20-11-15 - 1 (1023)Most cultures teach us that safety is found in separation and disconnection.

If we really believe that what happens in one part of the world doesn’t affect the rest of the world, we are in fact living in denial, convincing ourselves that we are safe.

To rely on disconnection for protection is to rely on falsehood.

watercolour/gouache20-11-15 - 1 (772)Mother Nature has given us the perfect example of what happens when we respect the laws of interconnection and also what happens when we don’t……..

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From the book – Buddhist Offerings:

You menace others with your deadly fangs but in tormenting them, you are only torturing yourselves. 

A Bientôt

Chance or Fate?

“There is no such thing as chance; and what seems to us merest accident springs from the deepest source of destiny.”    Frederick von Schiller.

My cousin introducing me to Crickhowell (The Magical Town of Crickadoon) in 1993 – a place I had never heard of before…..was that chance or fate?…….Certainly living and working in Crickhowell for twelve years constitutes a very important chapter of my life, and indeed will always be part of who I am.

large self portrait – Crickhowell Wales 2000 – rapid watercolour/gouache20-11-15 - 1 (955)Yesterday I visited my good friends Greta and Martin.     We met 12 years ago shortly after I moved to London from Wales.     It was a Sunday afternoon and I was giving a portrait demonstration for Artslink – a group I had recently connected with.       After the demonstration, Greta and Martin introduced themselves and asked if I would be interested in giving a workshop for SOFAP (Fulham/Hammersmith Arts Society) to which I said yes.      They also asked if I was related to Carol Weight, who it turned out was one of the early founders of the Society.     In fact, Carel was my Father’s cousin.

From Carel’s Memorial Service at The Royal Academy. 

20-11-15 - 1 (956)I will always remember that first workshop….because I knew in every fibre of  my mind and body that I was in the right place at that moment in time.     Subsequently, during the past 12 years, so much of the work I have done and people I have met in London can be traced back to that Sunday afternoon when I met Greta and Martin.   Chance or fate?

My first portrait workshop with SOFAP – Fulham/Hammersmith Arts – eleven years ago20-11-15 - 1 (954)Recently, I have been experiencing a glut of ‘coincidences’ – or are they?     Six Degrees of Separation is the term we use to describe such happenings when we meet others for the first time who we find are in some way connected to our lives.

When in Portugal, some of the group were scrolling through my work on a pad and came across this painting – which is a ‘symbolic self portrait’ large oil on canvas – painted in my West Chester studio, Pennsylvania 1990.      They asked what the different objects in the painting represented.     I told them that the little egg cup in the front and centre of the composition represented my birth.     That it was given to me, and other babies born in England on 21st January 1946.    The silver egg cup has the inscription –  News Chronicle Centenary – 21st January 1946 – Janet Weight. 

At this point one of the group said that their family had owned the News Chronicle….for me a significant moment.    Chance or fate ?      The egg cup has been a Talisman for me throughout my life….and as I write this, it sits on a shelf in my book case.

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Claudia Nottale came into my life when she was 17 years old.   Introduced through a friend, she came from Paris to live with me and my young family.     I knew from the moment I met her that she would play a significant part in my life…and indeed she has and continues to do so.

I have painted and sketched Claudia many times over the years…. charcoal when Claudia was visiting Crickhowell in 1995. 

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It has been suggested to me that I write a book about the numerous  ‘coincidences’ that have occurred throughout my life….and indeed they will be a part of my book.  With the luxury of hindsight I can now look back and pin point how these events have shaped my life.

Like a tightly woven tapestry – our lives are intertwined.        When we look at a tapestry, like this magnificent piece from Hampton Court Palace, we tend to see the main features….but every thread is key to the whole….all of life is interconnected. P1120664I am quite clear that when these ‘coincidences’ occur in a glut…that the hummingbirds are indeed weaving their magic…..20-11-15 - 1 (788)

A Bientôt

 

 

A day at the School in Olhao Portugal

One of the group sketching on Armona Island…..20-11-15 - 1 (903)People who sign up for courses at the School in Olhao – http://www.artinthealgarve.com come for several reasons, – yes of course the possibility of sunshine and being with like minded people, but for most it is to explore the creative process.       All levels of ability and experience are welcome.

Those that attend my courses usually come to ‘loosen up’ and so today I am going to talk about the process I use to help people to do this.

After a delicious 8.30 breakfast….we gather in one of the courtyards or studio for our morning warm up.     “Like athletes and dancers, artists need to warm up every day. Playful exercises will  help to awaken the senses”. – Janet Weight Reed

I begin the day with one or two quick demonstrations….an example of one. 

20-11-15 - 1 (995)At this point it doesn’t matter what the subject is, the key is to open one’s eyes and begin to see so that we ready ourselves for the day’s sketching and painting.

A goal of mine is that each person take home with them one or two new tools/techniques.

Something as simple as learning what your brush can do is vital information.    Understanding how different papers re-act….and so on.     By allowing ourselves to play we learn these things.

A warm up exercise by one of the group……20-11-15 - 1 (1018)

I emphasise the use of sketch books throughout the week to record both images and notes.  

A warm up sketch by one of the group showing me giving a demonstration…love this 20-11-15 - 1 (999)After the morning warm up, each person then decides where they would like to sketch.    Some choose to stay within the School with its endless supply of inspiration….or to  go out into the surrounding alleyways and town…..all within a minute’s walk of the School.

For those who have never enjoyed plein air sketching, this can be somewhat daunting, but I find that once people take the leap…..they quickly learn to enjoy the experience.

A sketch by a member of the group who came for the first time last year and had never sketched before…….now she can’t stop….20-11-15 - 1 (1023)After plein air work some members of the group bring their sketches back to the studio setting where they continue to develop their work.

This lovely watercolour from Jayanthi was taken from one of her many sketches from the Saturday Market.18198393_1511394575560684_5675669900655837280_nThose who have followed my blog will know that I believe the creative process in its many forms is the key to mental, physical and spiritual wellbeing, and so the week in Olhao is not only learning about new tools and techniques, but also experiencing those moments of deep contentment and wellbeing that the creative process can bring.

From one of the groups sketch book 18157384_1504663029567172_1420997864278064881_nI believe that by loosening up we advance our observational skills.    Regardless of what kind of work we would like to develop,….the loosening up process will help you to reach your goal. 

It’s important to remember that when plein air sketching…technique comes secondary to observation.       Observation is not just about looking, it’s about seeing.     Therefore,  rapid impressions of the subject helps us to actually see what it is we are looking at…….then if we wish to refine a sketch…..so be it.

20-11-15 - 1 (930)After a morning of sketching – we then join together for lunch at 1 p.m.

Each tutor has their own way of doing things, but I always have a two hour free period after lunch.    Some like to take a siesta….others to go out and about around the Town – observing life….etc. but it seems to work work well.

At 4 p.m. we come together again in one of the courtyards where I give another demonstration.

Two of the group this year were Botanical artists…..and so loosening up for them was a totally different experience.     They both jumped in wholeheartedly….allowing themselves to break free from their normally, very beautiful and detailed work.       One of the loveliest compliments I received from one of the ‘Botanicals’ (as they were dubbed) was at the end of the course when she expressed how much she had gained from the loosening up process.

One of my afternoon demonstrations…using one of the group as a model 20-11-15 - 1 (993)We then work from 4 p.m. til 6 ish.

I am very aware of body clocks and rhythms and so do try to plan a day where people have time to renew and organise thoughts.

At 6 – 6.30 ish people freshen up and prepare for the evening meal….which is always filled with  much conversation,  – a vital part of the week.      Sometimes the meal is taken at the School….freshly cooked by the wonderful Margarida.….or we go to a local restaurant….again just minutes walk from the School.

Speaking of Margarida…..This year there was a new addition – Charlotte – sister to Beatrice.    Yes, last year, Margarida was pregnant

You can just see her bump in this large water colour demonstration I did last year. 20-11-15 - 1 (93)

Here she is with the beautiful Charlotte….A woman of many talents….20-11-15 - 1 (865)And….lovely Joanna, who does the housekeeping and makes our  breakfast every day,  brought the twins to see us….who have grown so  much.

The twins….part of the School tapestry….20-11-15 - 1 (866)I couldn’t possibly finish this post without sharing the beautiful portrait of  me drawn by six year old Beatrice….(sister to Charlotte)….I will always cherish this.

Me – by Beatrice. 20-11-15 - 1 (933)For more images of the group’s work you can go to Art in the Algarve on Facebook http://www.artinthealgarve.com

My choice to day is to Soar above all the madness with the magical hummingbirds….

 

976253_10151660779970396_1579837650_o-2 no sigA Bientôt

Art in the Algarve 2017 – Overview – http://www.artinthealgarve.com

Another beautiful stay at the School in Alhao Portugal – http://www.artinthealgarve.com.         One week of sketching and writing on my own and a second week of tutoring a lovely group.

The group numbered fifteen and represented several different countries, UK, Canada, Cyprus, France and Ireland.

Here we are about to enjoy one of Margarida’s wonderful freshly cooked meals. 20-11-15 - 1 (972)I have written several blogs about the School and how conducive it is to the creative process.     David Clarke, founder of the School clearly understood what was needed.   He was a man of vision, and I for one will always be grateful for his gift to artists.

Three of the group working in one of the internal courtyards. 20-11-15 - 1 (981)Somewhat like the Tardis the outside doesn’t give away its many different levels, rooms, studio, and courtyards.

There is much to observe within the boundaries of the School.      The shadow play alone is magical.

150 year old olive tree in one of the School’s courtyards – producing exquisite shadow play. 20-11-15 - 1 (849)

20-11-15 - 1 (851)Given that the School sits in the middle of the old town of Olhao, which is a working fishing town – it is not necessary to get into a car during the entire week.   Everything one could need is within minute’s walking distance…..and for many sketching and painting around the town is an endless source of interest and inspiration

One of the many alley ways of Olhao…..20-11-15 - 1 (1056)Olhao history is long and fascinating…..Dating back to Roman times, with a clear influence from the Moors and Northern Africa, (400 miles away)     Much of the town is in need of restoration…however, this gives it a special kind of charm.  It is not the usual golf course, commercial touristy Algarve that we tend to see on advertisements….it is quite unique and very ‘earthy’.

Alleyway behind the School. 20-11-15 - 1 (145)Two of the many old doors that can be seen throughout the town…..along with decorative tiles ImageMarry the character of the town with the fish markets, busy fishing port and the beautiful Barrier Islands which are just fifteen minutes away, part of the Ria Formosa National Park, and it soon becomes apparent that there is much to explore, observe and paint.

Fish Market just a minutes walk from School  –olhao market

As is custom we were taken by Nuno and his lovely dog to Armona Island (10 minute  boat road) for a day’s painting and lunch at the Armona 4 Restaurant.   Armona is one of the Barrier Islands offering  beautiful beaches and given that there are no cars on the Island a respite from our busy world.

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Children playing with shells on Armona….20-11-15 - 1 (913)

One of Armona’s beaches…..magic

A mental image I am left with from this year was of one of the group floating in the small roof pool as a stork flew directly over her.       There was definitely magic in the air…..20-11-15 - 1 (832)Storks that nesting in Olhao. Image

Along with examples of the Group’s work, plus an outline of how the day/week is structured – in my next blog I will share more pictures of the Group sketching and painting in and around the School.

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During this visit and my short trip to Cardiff just before leaving for Portugal….Six Degrees of Separation were very much in play….in other words the magical hummingbirds were indeed weaving their magic.    More about this in my next blogs.

On that note, I can’t resist but to leave you with two of those magical little creatures…..

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A bientôt

 

 

 

 

Plein air painting – Time to Stand and Stare……

‘What is this life if,  full of care,  We have no time to stand and stare.    No time to stand beneath the boughs  And stare as long as sheep or cows…….’     from the poem ‘Leisure’ – by William Henry Davies. 

Plein Air painting affords us the opportunity to stand and stare.     As we observe the ever changing light, we become present to the sights,  sounds and smells that surround us.    After a while we become one with our subject and with that comes a sense of wellbeing.

Kent landscape – watercolour/gouache P1140440This post is to encourage those who might feel a little nervous of painting in public, to throw caution to the wind, and give it a go……..

Some tips:

1) Travel light.  –  A small sketch pad, one brush, sketching pen, a plastic cup for found water….i.e. river, stream, puddle, pub…..(Unless you are in the desert water is usually easy to find)

2)  A limited palette. –  I take seven colours….and could easily cut down to four.

2)   Some people prefer a sketching stool….I look for steps, walls, benches, rocks….

3)    Sun hat – (sunglasses distort colour)

4)    snack and water to drink.

5)    Optional – a camera to use as reference for future studio work.

Note that in this photograph I have found a table….(I was staying with good friends in Wales)    Also note the plastic bag on the table.    Normally for cosmetics it’s compact, has a zip and a handle, and makes for finding a brush or a tube of paint quick and easy.     Perfect for plein air sketching.

Overlooking the Usk Valley where the Black Mountains and Brecon Beacons National Park meet…..20160824_121557One of the watercolours I painted during that visit.   I plan to return again this year and do many more sketches there. 20-11-15 - 1 (267)It’s important to remember that when painting outside technique comes second to observing the essence of the subject.    The aim is to capture a sense of place…rather than every detail.

In this quick felt tip pen and watercolour sketch from Mas Cabardes S. W. France….I picked the essential components of the scene….capturing an idea of place.   20-11-15 - 1 (250)When I painted this rapid watercolour/gouache sketch, I was on the edge of a 4,000 ft cliff overlooking the white village of Zuheros, Andalucia, Spain,  with forests and olive groves going off into the distance.    It was very windy, and numerous lion eagles were flying overhead.   An extremely exhilarating moment.

It is all too easy to be overwhelmed with the visual feast set before you, and so again the key is to pick the essential components.   In this instance, I used blocks of colour…rather than any detail. 20-11-15 - 1 (36)From a pocket sized sketch book – Fishing boats on Armona Island, Portugal…..20-11-15 - 1 (63)

I remember this vividly.   I was in Portugal and the sun was setting over the hills….and I needed to capture the moment…and so again there is no detail whatsoever – just my feeling of what was happening.   watercolour. 11722205_10153408010935396_6808764412248363582_oI sketched this on a boat in Kinsale Harbour, County Cork Ireland.…and the colours were just like this…..Often when working in sketchbooks,  I join up the pages as you can see here. 10842265_10153035398130396_9042918393838052530_oAnother very happy moment.   I was with my dear friends Mariethe Salort (artist) and Bonnie Halsey Dutton (artist).    We were celebrating July 4th that day and sketched this village – Courrier-sur-Sein – not too far from Paris……watercolour/gouache.    I remember there were lots of little  boys who wanted to get in on the action. 🙂11834711_10153477485855396_4950983751547778998_oFrom a pocket sized sketch book off the coast of Akyaka, Turkey.     watercolour. 20-11-15 - 1 (768)

This final piece was painted in Monet’s Garden at Giverney.    My friend Mariethe Salort had arranged that we could paint in the gardens when all the visitors had gone.   It was such a wonderful summer’s evening and one I will never forget.     watercolour/gouache 10917160_10153020589015396_3953042147092516531_o-2

If you have not done anything like this before and are nervous to go it alone….there are groups you can join….or art associations that organise days of plein air painting for all levels, including beginners.     I can not recommend it enough…..

Of course I always surround myself with magical hummingbirds no matter where I am in the world…..and every now and then I am in places where they are the subject.   watercolour

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Happy sketching…..

A Bientôt

 

For International Women’s Day

Words of wisdom from Maya Angelou

“You may encounter many defeats, but you must not be defeated.   In fact, it may be necessary to encounter the defeats, so you can know who you are, what you can rise from, how you can still come out of it.”

Large alla prima oil on canvas – self portrait – 1989 -The Turning Point. 20-11-15 - 1 (765)International Women’s Day reminds me of the courageous women who have gone before and those who through example continue to encourage and inspire today.

The symbolic imagery in this large oil on canvas (1990) speaks of all women.

The brick wall behind the chest symbolises a special place….Everyone needs a special place in their hearts – to be in, to dream about and hope for. 

Photograph of the large self portrait.symbolising  awakenings and turning points. 

The quiltsymbolic of both peace and turmoil. 

The pewter vessel  – Throughout the millennia – the vessel has symbolised the female. 

The silver egg cupA talisman symbolising the day of  my birth.

The appledefinitely not forbidden fruit for me, rather a symbol of new life.    The apple reminds me not to judge a book by its cover but rather to understand what’s at the core. 

The sculpted armMade by American artist, Janet Cleveland.   In its uplifting gesture, it says ‘Yes, I can do it…..’

Large oil on canvas – Symbolic self portrait – circa 1990.     20-11-15 - 1 (773)And I do believe that women can do just about anything that they put their minds, heart and soul to – the key is to never give up.  

For those women who feel alone and whose lives are racked with struggle….this day represents a beacon of light and hope.    It is an opportunity for women to come together.

This magical hummingbird symbolises the unseen magic in our world, – something that each and everyone of us can tap into…….20-11-15 - 1 (772)

A bientôt

Painting exercise – An Iris, symbolising love a wisdo

Even though we are still in February, I am feeling the onset of Spring.     Everywhere I look, I see the signs.    So many bulbs shooting up through the soil and that tell tale sign of the sap beginning to rise.     Such an exciting time of the year.    These feelings are begging me to use vibrant colour…..and so I am using an Iris as my jumping off point for a watercolour/gouache painting exercise.

rapid watercolour with a little gouache here and there…….20-11-15-1-731I have learned that the Iris symbolises love and wisdom  – two elements that we can never have enough of…..

This is a playful exercise….a good way to warm up.

Using a big brush, I apply bold colourful marks to the paper….You can do this exercise on newspaper, inexpensive wallpaper lining, anything at hand.   The key is to go for it and enjoy. 

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I begin to establish the form of the Iris….important to note that all the whites you see thus far are dry white paper.     I am emphasising keeping dry white paper areas in this exercise, rather than wetting the whole sheet.    This will give more control and ultimately those dry white areas bring sparkle to a watercolour painting.

20-11-15-1-726I add paint to the background and pull out certain areas with a clean wet brush….all the white areas showing are dry white paper.

To avoid muddiness – a clean wet brush can do wonders in moving paint around.     20-11-15-1-727I then decide to give the image more drama and add a dark wash into the negative space surrounding the Iris.      I don’t use black…this dark is made up from  a Burnt sienna/ Prussian Blue mix plus some of the purple I have used in the Iris. 20-11-15-1-729While the surface is wet, I scrape out some areas with a knife.   I have also added a little Permanent White Gouache into the final frame….note how the gouache bleeds from the Irish into the surrounding paint.

Very important to move colour around the picture and to allow the paint to do its own thing….this is where watercolour mediums are quite magical20-11-15-1-731I have several short videos on YouTube which can be helpful.   They can be found by entering my name into the YouTube search engine.

Along with Podcasts I plan to do some longer videos during the coming year.

Remember love and wisdom are the words for today….two elements the Magical Hummingbirds understand well.

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A Bientôt.