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Exhibition looming…

I’ve been taken on by OIL AND WATER GALLERY in Wandsworth, London. A stunning new gallery, with an eclectic mix of artists. I’m involved in a mixed exhibition which opens on the 10th of October. I have also committed to doing a solo with them next year, in June.

‘Lioness leaping’ Oil on canvas
 
 

I am enormously excited but, as for any artist, it is also becomes a time of huge pressure; ‘Will I have enough works?’, ‘Will enough sell?’, ‘Is ochre a crazy colour to paint the kitchen?’ Decorating as an artist is treacherous, I’m too addicted to colour to go fashionably neutral.
I’m feeling reasonably prepared, and am just finishing off the frames. Although, I have a feeling I will be far less relaxed as the solo exhibition deadlines draw near.

‘Ivy’ Charcoal on paper

These are couple of examples of work I will be showing, alongside a selection from 8 other artists. I’m pleased with my body of work, it’s a small selection from the result of a years hard graft since I went back full time after a longer than planned maternity break. (6 months off – Ha! So naive….) I have tried to develop a more distinctive, modern approach to the traditional sporting genre, and so I hope others feel that is has been successful.
 The opening night is the 10th of October, please email me: catherineingleby@hotmail.co.uk if you would like an invite.

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From start to finish.

You may remember if you read this blog regularly that I attempted to show the process of the development of a painting last year – one of the highland cows. For whatever reason; I lost concentration, got distracted by the children or another of the myriad of excuses that artists deploy when they’re procrastinating, was that the painting was a complete disaster, and ended up ripped up off its stretchers rolled into a dusty tube and joined the collection of cast offs under the dog’s chair in my studio.
This time I thought I’d finish the painting first. I’ve used a commissioned portrait of a sidesaddle rider to demonstrate. This is the photo I was given to work from, not ideal, but enough.

 

Stage one. Planning and composition.
This looks deceptively simple but is in fact the most crucial part. I have finally been dragged into the modern age by my soon to be brother in law Jack, who lent me a tablet and stylus so I can sketch, erase and the move things around at will. I’ve taken the original photo, removed the ungainly rider from the front, and arranged the remaining three into a better balanced composition, which hopefully emphasise the sidesaddle rider (the commission subject)

Stage two. Oil sketches.
These are small sketches, painted quickly in an hour or two which let me have a look at the balance of the painting, the harmony of colours, and allow me to make mistakes inexpensively. I wanted to go with a plainer background as seen in the largest sketch, but the client wanted a landscape.

Stage three. Main painting.
Once the the canvas is measured out, stretched and primed with a dark ‘ground’ I sketch out the drawing onto the paint with a pen. I now have to order these especially from the States as my uk supplier discontinued them and like many artists I hate to change tools. I have painted with the same half dozen Old Holland oil colours for the past decade. Expensive – one of the tubes is about £40 a go, but worth it.
I can’t explain why some paintings work and others don’t, but well planned and thought out paintings tend to work better than those I rush into. I always have an image of what I want to achieve in my head, sometimes I achieve it, sometimes I never quite get there, and on rare occasions I exceed it. The first version of this didn’t work, and got very ‘muddy’ but I was more pleased with the second.

Attempt No 1

Final Painting 

Final stage
Letting it dry, touching up the details and highlights, and varnishing. Then sending the proof to the client, which is terrifying EVERY time. They were pleased fortunately.

I’m most often asked ‘How long does a painting take?’ and in answer I really have no idea. This was commissioned in May, and delivered in August. If the first version had worked it would probably have been ready the month before. Each painting is different, some are finished in a week, and others take six months.

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Is the traditional gallery a dinosaur?

The Affordable Art Fair Hampstead

I spent an immensely enjoyable day at the AAF Hampstead, with thanks to Alice Struthers. Great to reconnect with some of the agents and galleries, and to see what’s on in the market at the moment.

Anne-Marie Butlin



The format of the AAF has been enormously successful, now encompassing 15 fairs worldwide, it is clearly very appealing to buyers and it was great to see such a vibrant market and healthy sales. At the same time many galleries are closing, even Cork Street, the very home of art galleries, is threatened with redevelopment and closure. (www.savecorkstreet.com)

I passed a lot of the day talking to agents and gallery owners, and it is clear, that while many are modernising their approach to selling; by incorporating online sales and using social media, there are others that are struggling to do so. I get the impression that some galleries are intimidated by the openness of todays market, and the accessibility of their artists to their private clients. Exclusivity is a thing of the past, as almost every working artist’s contact details can be found within seconds on google.

Guy Allen (Grandy Art)

I have first hand experience, as have several times been approached by potential buyers who have seen work marketed by a gallery representing me. (For the record I do not undercut my agents!)
However there is clearly a grey area and the solution largely rests on trust and honesty and transparent dialogue between an artist and those who represent him/her.

 Equally an artist with a strong online presence, and healthy independent sales is a bonus, rather than a threat to a potential gallery, as harnessed together these attributes can only widen a client base, and increase publicity to both parties.

There are some fantastic agents and galleries out there, who support and encourage artists, and provide invaluable advice and opportunity to their clients. I believe it is a good thing the art market is being made more accessible, with schemes such as Own Art enabling even those with the tightest budget to purchase original work.

 
Oona Campbell (Panter & Hall)
 
 
More of my own work in the next entry – nose to the grindstone with private commissions!