A True Confession

 I wrote an article in 2009 entitled 'A True Confession' (you can still read it if you scroll down the NEWS AND REVIEWS page of my website).

This was about a marionette I had been captivated by called Mr Turnip on T.V. in the 1950s. I later went on to use the puppet as a symbol for my childhood in a painting called 'Diamonds'

Recently I was contacted by a guy in Lincolnshire who had read the article and wanted to know more. It turns out he is writing a book about Turnip's creator Joy Laurey, whom I had met on several occasions while researching for the painting.

We had a very interesting morning together and I hope what I was able to show him (letters, photographs, drawings etc.) was useful. He is hoping for the book to come out later this year.

Hurrah!

 At last, we have managed to get my posts from Instagram to appear on my Facebook page as well! This means that I can present something more visual and even show the odd video. (some will be odder than others)

Currently, you can see a section of my painting 'Katy's Gold' linking to a tiny bit of film of the Sheringham house we have stayed in annually for the last forty years,

We were there last week, with twenty members of  the family

On The Edge

 I've been thinking alot about edges recently. I had three requests to stain the edges of  canvases I sold during my Open Studio event - which I was happy to do.

 Normally, with a  preliminary study, I leave the edges quite rough but fully appreciate some people want it to look a bit neater.

I've also been staining the edges of the nine small canvases which make up my painting 'Memento Mori.'  I envisage them displayed in a box- like frame rather like a cabinet of curiosities  so the edges need to be the same dark colour as the background, so they can dissolve into it.

Need A Boost

 I am trying to make one small video a week on Instagram to illuminate my paintings and the collection.

Last week I posted my painting, 'The Enigma of the Chinese Mask' and then went on to show the puppet 'Mr Turnip' (his head was based on a Chinese mask).

I thought it would be more fun if I could animate his hand, eyes and mouth but couldn't get a signal in the room he is based in. Although I could have moved him to another location, I knew I needed stronger WIFI anyway because of other things I plan to do in the future.  (more parts of the collection to be shown soon)

After some research I invested in a booster and eventually got it to work. You can see the results on my Instagram feed

Drawing Drama

 This week I've been working on preparatory drawings for my next painting 'Dreamtime' - ( you can see a very short film of my first sketch on  Instagram.)

I set up the Pollacks Toy Theatre at various angles and used a lamp to add dramatic lighting.

I even ended up sitting on the floor so I could see the theatre from a very steep angle.

 Four of the drawings were photocopied at different sizes and I've been cutting them up to arrange the composition.

The image is based on a dream I had in the midst of the pandemic, of being trapped inside the theatre and couldn't get out.

 The final painting will show Hazel and I escaping from Covid.

Still Here

 The best thing about my recent Open Studio events  (apart from selling alot of preliminary canvases and prints) was meeting former students again and their parents, after forty years.

Many took photographs and I think there was a feeling on their part of not quite believing I was still around!

Mind you, I think some  were even more excited to see the Morris Minor again as I used to drive it to school fifty years ago.

A Wobbly Gem?

 I have now produced two, 30 second videos to promote my Open Studio events (last one this weekend - lets hope the weather holds).

The first video  using my hand held phone to 'discover'  my 1931 Morris Minor, and see who was in the driving seat (you'll need to view, to find out).

The second film was more ambitious. I wanted to experiment with my new tripod and let the camera gently glide into the studio to see  my latest work in progress. 'Memento Mori' uses painted bubbles so I wanted real bubbles to be gently floating over the surface.

Although Hazel manipulated the bubble machine for me, I really needed a third person to hold the tripod.(it kept moving)

After several unsuccessful attempts I opted for a  still shot of the painting with a few bubbles wafting across it.

Watch out for my next wobbly gem later today.