4.30 saturday evening
frustrated by confusing results with 2 square stones paintings, so decided to lay the foundations for 2 new big ones
red on one, orange on the other first
then blue on both
then dark green on orange one, light green on red one
getting to dark to see the colours properly
call it a day
This is the final post on these 2 big stones paintings. I changed the shape of one of the stones because it was too symmetrical.
The two square 80cm canvases are moving along now with shapes revealing hesitantly
I sat for a bit in the clear upstairs space contemplating next moves accompanied by lovely shadows on the wall when the sun came out briefly
a bit more of the same but slightly different
the 2 big stones paintings (100cm x 80cm) are nearly done I think
and 2 more 80cm square ones started
this purple one has the beginnings of a wall in dawn or dusk colours
I wonder what a neolithic community woyld have made of a flame filled sky?
the stones are slowly revealing themselves through the mists of time and layers wax
today I have first made some transfers of field patterns onto the touch dry surface from last nights painting. The transfer prep is like alchemy to me, mix a paste of powder pigment and nail varnish remover (!) paint the mixture onto a sheet of tracing paper ( I dont have any, so used a thin transparent shiny paper) it dries really quickly. draw through from the back so that the marks made transfer onto the canvas.
I then rolled, transferred and squeegeed 3 or 4 different areas with 2 different greyish colours of paint and wax, then rolled and squeegeed smooth. Incidentally covering over much of the field pattern drawing in the process
With solvent revealed some more of the stone shapes that wanted to appear, blotted off with tissue. Roughly scraped and scored around and about the shapes at different angles and depths
Thinking about the community that lived in the Ceide Fields. How did they work the stones with no metal tools? They had fire to roast their cattle, what was their relationship with fire, with their animals? With the stones?
so here they are back in my much reorganised and spacious feeling studio
applied a few more layers using baking paper to transfer the paint with a roller
then ‘ revealed’ the beginning of a couple of forms wirh solvent, blotted with tissue
scratched a bit, smoothed a bit with a squeegee
photos are rather gloomy because its dark outside and studio lights are dim
between clearing my studio rubbish ( well actually Malachy is doing that, thank you ♥) and actually painting, I have been thinking about how I am going to display all this new work. Many of the new Ceide Fields Stones series paintings are very textured and would benefit from NOT being distanced behind glass. So I think I am goung to mount them on panels. There are 15 that Ibwant to do this way, so I might need a mortgage!
The small 6 x 8″ maplike pieces are on paper and have rather irregular edges,mm so I think they will have to be behind glass, but I am hoping to work out a simple design that doesnt overwhelm them
Here are 4 of the ones that I definitely think should be on panels
going to take a risk here and share these works day by day, however bad they get
started this evening with 3 layers of oil and cold wax on 2 canvases each 100 x 80cm
first layer mostly lemon yellow and cadmium yellow with a bit of orange, second layer mostly alizarin red with some magenta, third layer a greenish grey ( paynes grey, lemon yellow, sap green and left over pallette scrapings with some white). All with about a third cold wax medium
I had to work on the table in the utility room because its too cold out in the studio, so it was a bit cramped
the wax was a bit stiff, so added a small bit of vegetable oil, hope that isnt a disaster, as I suppose it might not set properly!
3 works submitted to Royal Ulster Academy
storm approaching
territories
evening light donegal
http://www.royalulsteracademy.org/submit
all 3 oil and cold wax medium on cradled wooden panels
panels made by Milliken Bros
where from and where to now
2 panels 40 x 60 cm
straits and absorbing
2 panels 40 cm square
4 leaves and territories
2 panels 50cm square
Liz Doyle is building a new collection of abstract works in oils and cold wax medium on wooden panels
The panels are the highest quality from Milliken Bros
The wax is Gamblin wax from T Lawrence in the UK imported from USA
The oils are best quality with proven lightfastness, mostly from Gerstaeker in Germany
Liz also uses Sennelier oilbars
Liz is working on themes to do with land, territory, migration, erosion and the environment. The layers of wax and oil are built up with a roller and palette knife. The layers are drawn on and scraped through with a knife revealing hidden colours and adding texture. The wiggly lines evoke ancient migration routes and territorial boundary changes. Liz’s inspiration comes from her passion for her rugged home landscape in Donegal, Ireland and her extensive travels, most recently in the Himalayas in Nepal, in Italy and Portugal.
Liz Doyle is looking for galleries in Ireland, and any city galleries in Europe or USA who would like to be the first to show these new works
Please contact her in the first instance through this blog or by email on liz-doyle@live.com
where from and where to now
2 panels 40 x 60 cm
straits and absorbing
2 panels 40 cm square
4 leaves and territories
2 panels 50cm square
Liz Doyle is building a new collection of abstract works in oils and cold wax medium on wooden panels
The panels are the highest quality from Milliken Bros
The wax is Gamblin wax from T Lawrence in the UK imported from USA
The oils are best quality with proven lightfastness, mostly from Gerstaeker in Germany
Liz also uses Sennelier oilbars
Liz is working on themes to do with land, territory, migration, erosion and the environment. The layers of wax and oil are built up with a roller and palette knife. The layers are drawn on and scraped through with a knife revealing hidden colours and adding texture. The wiggly lines evoke ancient migration routes and territorial boundary changes. Liz’s inspiration comes from her passion for her rugged home landscape in Donegal, Ireland and her extensive travels, most recently in the Himalayas in Nepal, in Italy and Portugal.
Liz Doyle is looking for galleries in Ireland, and any city galleries in Europe or USA who would like to be the first to show these new works
Please contact her in the first instance through this blog or by email on liz-doyle@live.com
donegallizdoyle 