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I have always drawn or painted people around me. As with any other painting or drawing from life, one finds a ‘likeness’, a ‘feeling’ unique to the the place, the occasion or the person. It was Julia Wolstenholme, a tutor at Hornsey Art College in 1960, who alerted me to this all-important ‘feeling’ element.
Moments spent drawing or painting people have a quality unlike any other human interaction.
Archive of Paintings
After leaving college in 1964, like many would-be painters, I became a full-time teacher, but continued painting and exhibiting work. I found my impulse was to reject any self-conscious approach, be it modernist or traditional, and to make an obvious and recognisable response to what I saw. Finding oneself able to paint at all is rewarding, particularly if people respond by buying one’s pictures! But, apart from the value of “keeping one’s hand in”, one has to question what one is doing as a painter, and why. Meanwhile painting itself tends to assert its own imperatives, sometimes mysterious or seemingly arbitrary, and becomes altogether more absorbing, intense and difficult . This gallery includes a mixed variety of odd paintings from various times and places, and shows varying degrees of these stages.
ONE HIT WONDERS
These are examples of observational drawing, paintings and portrait studies each done in a single session. The selection includes early as well as later works.
This is a selection of paintings which were much more than brief studies. They are from various stages in my career. Some are more and some less serious or important than others, and of varying success.
Drawings, Studies, Sketches
Few of my drawings are finished pieces in their own right, most are notes or mementos. Since my painting process amounts to explorational drawing in paint, I seldom make preliminary studies for them. But I continue to sketch, often at times of change, or when approaching new subject-matter. The activity is literally one of marking time.