I have been experimenting with different supports and media. The Jessica Brilli painting on wood got me curious about how it would be different from painting on canvas.
I could find very little information about the experience of painting on wood panels (but lots of information on how to prepare them). So I realised that I had to use trial and error to find out. I ordered some gessoed wood panels from Cork Art Supplies who delivered them very promptly.
My first effort was this painting. I painted a light ground of red ochre in oil before I laid down the painting. I found that achieving fine detail was much easier than on canvas. However, the colours didn’t behave the way I expected them too. My sky started off too dark. I found it was easy to wipe off the oil paint and repaint it a lighter shade. I found that white areas also needed a further layer once they had dried to give them the solidity I required. The painting took much longer than I am used to to dry.
I have painted in acrylics on canvas before and struggled with the speed with with the paint dries on the palette. I used to find the the paint had gone hard in the 20 minutes since I started painting. It drove me mad. However, after extensive reserach I worked out how to make a wet palette so that I could slow down the drying time of paint on the palette. I decided to use the quick-drying acrylic paint as an underpainting.
The acrylic painting was more of a sketch than a proper painting. The process forced me to simplify my images further and the final layer of oil paint gave the image a greater depth and richness of colour.
Some of the acrylic sketches really challenged me as the paint did not move and work in the way I was used to with oils. The greens and yellows were too transparent and looked messy. It was impossible to lighten colours, like the leading edge of the fence post, once they had gotten too dark.
The final layer of oil paint, however, enabled me to make my colours much more opaque and to to add much more detail in places, especially on the wire fence.
My final painting was a studies in mauves, blues and greys. I had added an additional layer of light grey gesso as a ground before I started painting.
I enjoyed experimenting and I ended up painting several painting at the same time, as I waited for paint to dry between layers. The whole process forced me to confront my short-comings as a painter of acrylics. I did not enjoy that. It made me feel uncomfortable and brought out my “imposter” anxieties. I need to do much more work in this area to develop my skills.
It was also rather time-consuming and probably not a great project to undertake in the winter months, in Donegal, when good light is in very short supply. I am not sure that I would spend so much time on the underpaintings in future, as I liked my first painting the best. Although I would where there are large areas of white. I did enjoy painting on the wood panel and I will continue to experiment with them.
I have found that my energy is slowly but steadily returning after my operation on my broken leg in March (although painting light is shrinking with the shortening days). I spent much of the spring and early summer sitting in my chair wishing I could go outside into the fresh air or climb the stairs to my attic studio. I painted watercolours instead, and thought a lot about colour and composition. I learnt to simplify my images and edit them with more ruthlessness than I had done before.
I have attempted to carry these lessons into the compositions of my oil paintings. I suspect that I need to go further. I am always torn between a desire to accurately convey what is probably a well-known location to local people, and the need to create an effective composition. In otherwords I want to create an engaging painting, regardless of whether a viewer has visited Donegal or not.
Here’s an example of editing my composition. I used several reference photos for this painting of Bád Eddie (Eddie’s Boat) but you will see that I decide to leave out the all the lamp posts. I felt they made the picture look cluttered. I also left out the the skylights on a couple of the houses for the same reason. I did, however, decide to include a couple of series of fence posts on the right side of the painting as they lead the eye down the hill.
I have gone further with my editing of the reference image in my most recent painting of Arranmore. This is a painting of a (probably abandoned) white house that I had painted a watercolour of earlier in the year .
A lot of the compositional work is done when composing the reference photograph, but there is often a bit more tinkering to be done to clarify the image further.
Here you can see that I have again removed most of the telegraph poles, just leaving one further down the road. The fence posts as usual, get to stay. The ones on the right led the eye down the road. The central part of the painting on the right side is too cluttered for my liking too. It’s very confusing for the viewer. I have since discovered that this is because there are too many “tangents“. The word “tangent” usually just indicates that two things are touching, but in art the term describes shapes that touch in a way that is visually annoying or troublesome. This also describes those telegraph poles I removed. It all makes for an image that is easier to “read”.
I also removed a several of the buildings so that there is a clear view over to the tiny island of Inishkeeragh with its solidary summer home. Finally, I also simplied the pair of yellow buildings to the far right. I found the semi-abstract result pleasing and I felt that the lack of detail balanced the detail in mud, rocks and grasses on the near side to the left of the painting. I like to balance detail with areas of flat colour, such as the roof of the house or the sea, as I think that too much detail all over makes the head sore. The human brain doesn’t process images in this way any way. Our eyes/brains will focus on one or two areas and “generalise” other larger areas of colour.
Thus, I hope I have created a succesful painting rather than slavishly copying a photograph.
Read more about avoiding confusing tangents in compositions here
I recently join the Stair Árrain Mhór – Árrain Mhór History Facebook group and was overwhelmed by the positive response I received from the members when I put my most recent post online there. I was asked if I had any more paintings of Arranmore for them to see, so here’s a collection of all my paintings of the Island that I have completed in the last two years.
Where it reads (Private Collection) it means that the painting has been sold. I hope you enjoy looking at them.
Here is my latest Donegal painting. I am delighted that it will be going to its new home in California, USA, very soon.
A narrow lane curves down to a shining white cottage and outbuilding and to the right. This is not a public road but a lane to the house, just around the bend. Here it is bathed in glorious winter light. The low sun creates long dark shadows along the lane. The sheep look up, they are not used to strangers (not like the sheep on the Gower that barely give visitors a second glance). On the horizon, you can make out the tiny but distinctive shapes of Muckish and Errigal mountains . You can just make out a line of fence posts that lead down towards the small natural harbour that gives its name to this place: Poll Na Mbadaí or Poolawaddy. The meaning of Poolawaddy (also spelled Pollawaddy) is often disputed. In irish Poll a Mhadaigh, could mean Poll – the harbour, a Mhadaigh – of dogs or Poll na mbadaí, Poll – the harbour, na mbadaí – of the boats. I suspect that the harbour of the boats is more likely, as it is a natural harbour and pier, but I could be wrong. I only have a basic understanding of Irish but I like to try and read it because place names are very descriptive (as they are in Welsh too) and often poetic. A harbour of dogs is just as possible, after all, there are tiny islands nearby named Calf, Duck and Gull Island.
It feels like it has taken me 7 months to get here. The last painting I finished just before I broke my leg in eraly March was also a painting of this area (see below). It has taken me so long to recover my “painting stamina” and gradually paint larger canvases (although some artists would not consider 80×60 cm “large”). I don’t think I will go any larger for now. I feel exhausted after finishing a large painting these days.
I like to understand what it is that I am painting, to get a sense of its history and the people who live/d there. I might call a building an “outhouse” for example but very often that building was once a family home, a newer bigger one having been built next to it. It matters to me to know that. It helps me make sense of a place. I only know only a little about the History of Arranmore, however, so what I have written here has been taken from articles I have found online (I have included links and a list of websites at the end).
Life on the east side of Arranmore Island, where Pollawaddy is located, is marginally easier than on the west side. This is because Cnoc an Iolair, the highest peak on the island (reputedly once home to golden eagles), provides relative shelter from the prevailing westerly Atlantic winds. This side of the island certainly seems more sheltered, gentler.
After the Protestation plantation in the 17th century, Arranmore Island, Donegal’s largest island, like other large parts of West Donegal, had been given to the English Lord Conyngham. However, when the terrible potato blight leading to the Great Hunger (“an Gorta Mór”, in Irish) spread during in the mid-1840s he declared the island, which he had never set foot on in his life, as unprofitable and sold it to a Protestant man John Stoupe Charley of Finnaghy, Belfast on 29 June 1849. The new landlord came to live on the island, building a “Big House” (now the Glen Hotel) after 1855 just down the road from Poolawaddy. Very near Poolawaddy, RIC police barracks were built, presumbably built around at the same time to protect the landlord’s property. Interestingly, the RIC left the island after about 40 years and there is still no police station on the island (although the Guards do visit on a regular basis).
Landlord Charley decided to clear as many starving tenants off the land, so he demanded them to present the receipts of their rent payments or face eviction. Of course, few if any had been given written receipts, let alone kept them since most of them could not read or write. The choice they were faced with was either the poor house in Glenties or to emigrate to America in a ‘coffin ship’. Many of these subtenants were evicted in 1847 and 1851. Many who made it into the new world settled on ‘Beaver Island’ (Lake Michigan, USA ). The two islands are twinned. The Árainn Mhór & Beaver Island Memorial, built in 2000, and the sign that Beaver Island is 2,750 miles away, is a memorial to this link. Many of the first islanders who emigrated to Beaver Island were from Poolawaddy. Evictions carried on after John Charley’s death in 1879, when his widow Mary and his brother Walter Charley MP were left to manage his lands. The British government even sent a gunboat, “Goshawk” in 1881 to “assist … the serving of ejectment processes on the tenants in the island of Arranmore”!
The Islanders who left for America emigrated permanently, but seasonal emigration was a more common feature of island life, with many young people working as labourers for farmers in the Lagan, a fertile area in northwest Ulster, and also in Scotland as ” tattiehokers” for the summer. Rósie Rua was one such youngster. She was born in 1879 and was reared on Aranmore Island by her mother and her step-father, the Butcher. In adult life, she gained renown as the best traditional singer in Aranmore and wrote a memoir of her life with the help of Padraig Ua Cnaimhsí. Unfortunately, the memoir seems to be out of print, but I could read some sections of it on google.books.
In her memoir she describes how at aged nine she was hired out to farmers in the Lagan. Her family home was not far from Poolawaddy and she describes catching the boat to Scotland to work as a farmworker or ” tattiehoker” for the summer. She wrote that “the steamer had dropped anchor off Calf Island, and we saw the boats pulling out from the shore with their passengers. In no time at all, we were all down at Pollawaddy ourselves and one of the small boats brought us out. Lily was the name of the steamer.I was amazed at the size of her…just about a hundred passengers in all boarded the Lily at Calf Island.”
Rósie Rua has a singing festival, Féile Róise Rua held in her name on Arranmore. The first was held in 2019. Sadly the pandemic distrupted the 2020 festival. The festival went online on facebook and you can watch some of the performers here. Fingers crossed the next one can go ahead in 2021! I will leave you will a clip of Jerry Early singing “I’ll Go” (5.55 onwards). Just look at the view out of his window!
Finally, I managed to scale the steep steps to my attic studio! One step at a time. Holding on the handrails.
Ah, what pleasure it was to be back in the attic. It has a view out the back of the house. It is a great pleasure to look at the wooded parks and hills of West Swansea instead of the unrelenting concrete streets and terrace houses out the front of the house. I have a number of commissions to fulfill but I wanted to “warm up” with some small paintings first as I have been working with watercolours for the past two months. Here’s a selection:-
My first reaction to oil paint was how slow it all is in comparison with watercolours. With watercolours, most of the effort goes into planning and preparation and then the execution of the painting itself is quick. Putting oil paint on the canvas was more laborious that watercolours. I also had to rummage around for looking for the right sort of paintbrushes, a few times. I could not quite lay my hands on what I needed. But, ah! The paint did what I thought it was going to do. What joy! If I changed my mind about a composition or decided that something did not work I could wipe it off the canvas. It did not reproach me for making a mistake by showing it to the world for ever! Nice!
Anyway, I sat down and started a series of new Donegal paintings. Here they are.
The Two Tin-Roofed Sheds, Arranmore, Ireland
The Old Stone Shed Arranmore Ireland
These paintings are from the past few weeks. I have also worked on two commissions. It has been slow work at times as I often need a lunchtime nap to keep my energy levels up. I do my rehab exercises several times a day which can be very tiring. On a positive note, I finally got to speak to a physiotherapist, Josh, who has been very helpful. He has posted exercises to me and giving me guidance on how much to do. I can walk upstairs reasonably well, but downstairs one step at a time. When I get tired my ankle gets sore and I limp. I try and avoid that if I can.
What did I learn from watercolours? That I can and should edit and play around with compositions more. I simplified my images as much as I could. I changed the skies or left out an inconvenient house. I found this freeing and I brought an element of this to my oil paintings. For some reason, I have felt to need to be truthful to the real-life locations I painted. I realise now that I don’t have to. I can happily leave out a telegraph pole or a lamp post if it confuses the composition.
Watercolour painting of robin
What do I miss about watercolours? The tidiness. Clean clothes and hands. The lack of chaos. The speed. The brushes that don’t wear out by the time you have finished a large painting. The lightness. They convey the lightness of birds better than oil colours. Also the convenience, I could pack away all my paper, paints, and brushes in one big bag. I am looking forward to using them outside when I can walk much longer distances!
This is a follow on from my last post about composition and large landscape paintings. Included a small study of a view of Arranmore, Donegal. The study used a diagonal composition.
When it came to a much larger painting (60x80cm – approx 24″ x 32″) I decided on a slightly different composition. It wasn’t that I didn’t think the small painting worked, because it did, but because paintings in the “landscape” format are more popular with collectors than those in “portrait” format. It might have something to do with wall space, I am not sure. If you are not sure what “landscape” and “portrait” format is, it’s just about which round the painting is positioned. “Landscape” has the longest side along the bottom, “portrait” has the shortest side along the bottom.
Landscape format allowed me to include the sweep of the hill as it fell away from the viewpoint towards the sea. This composition used the rule of thirds, so the painting has a different energy to the study.
The position of the viewer is slightly different, it has moved to the left and so more of the house in the foreground can be seen. The larger painting also has a red tractor in the lane, which the study did not, which draws the eye down the lane: hence the title.
I particularly enjoyed painting the different textures of crops and grass in the field that were not visible in the study painting. The widened composition also included the large cross on the shore to the left. I did not realize it at first but the wall in the corner of the painting is a graveyard wall. This is the graveyard of St. Crone’s chapel. Saint Crone was a sixth-century Irish saint descended from King Niall Noígíallach (‘of the Nine Hostages’) and a contemporary of Saint Colmcille (St. Columba of Iona). Saint Crone was very active in the Rosses area. The parish of Dungloe on the mainland also takes its name from her; Templecrone.
So executing a study can be a useful tool in thinking about the composition of a larger work. It will show if a composition works or not but it can also suggest improvements and variations. Interestingly the study is a painting in its own right, it has a different, lighter feel to it. Small paintings often take just as much thought and effort as larger ones even if they are quicker to execute.
My PC just crashed. I am not sure if that’s a result of the effects of Storm Dennis (we had downpours all night long here) but I am going to stop here!
Failures are always a challenge. When I used to be a Secondary school teacher, I always learned more about teaching when I faced a difficult class than a nice docile one. They made me go away and think about what I was doing and how I could do it better. Painting is no different.
I have been thinking about the composition of larger paintings. When I used to think about painting a scene I used to think in terms of “that’s a small painting, it won’t “stretch” to a larger canvas”, or “That’s a mountain, definately, therefore, it’s subject suitable for a large canvas”. I am parodying myself somewhat but generally, I have this feeling that small birds belong on small canvases and big landscapes belong on larger ones.
My thinking was challenged by a commission I did in the summer where a client asked for a very large version (120 x 90cm) of a relatively small painting (41 x 33 cm). So I scaled up and despite my anxiety, it worked. This was important as my confidence had been dented by a previous large landscape painting that hadn’t work out for me.
It got me thinking about composition. I understood the basics and had looked of compositional grids in Artbooks as a teenager and thought I’d internalized them. I realized that I had got sloppy. I’ll explain.
I am not going to do an information dump about theories of composition here (I have added links to some good blogs on the subject below) but the “rule of thirds” is one that springs to mind here. The idea that you should look for naturally occurring in divisions of thirds in a scene and try and locate points of interest at the intersection of the “Golden section”.
Rule of Thirds
The Golden Section
I had been influenced by ideas of composition from photography and the work of artist-turned photographer, Henri Cartier-Bresson,in particular.
I liked his use of diagonals in particular, and this has influenced my paintings of urban scenes.
When I came to Donegal I was so blown away by the vast overarching skies and majestic landscapes. I got very excited by everything I saw. I tried to capture everything. The houses, the mountains, the sea, and the sky. Most of the time it worked.
Swirling Clouds Round Errigal
From Ferry Coll
From Cruit Island
Wild Wind Across Dunfanaghy
Shored up near Muckish
Further Up Shore
You can probably look through these paintings and tick off the composition approaches I instinctively used; the diagonal, the pyramid, the rule of thirds and so on. They all worked.
Then, it really pains me to admit it. I lost it. I got carried away and overreached myself and painted this big beast.
What was I thinking? There is far too much sky in this painting. Worse than that, it was a large canvas. There are things I like about the painting, the light on the island in the bottom half of the painting, but the sky was just too vast. It pained me that I had such a large reminder of my errors of judgment. I don’t mind screwing up every now and then but I hate waste and that was an expensive canvas. It’s no coincidence that I am planning a blog post on reusing stretcher bars to stretch my own canvases.
My confidence was dented. It put me off large paintings for quite some time. It wasn’t until I did the commission I mentioned earlier, that I got thinking about what had gone wrong. I realized that I had to rigorously apply the same rule of composition to large canvases as I instinctively did to my small ones. So I tried an experiment, I took a successful composition of a medium size painting and did a much larger version of it. This composition was based on a compound curve.
It wasn’t a copy of the smaller painting. It wasn’t meant to be, although it was meant to encapsulate the same feel of the smaller work, with some adjustments. I have included some more detail, changed the tree, and added a shadow and a ditch in the bottom third of the painting. I think it worked.
I have since done another small oil sketch of another composition before I scale it up. It’s another diagonal composition. Although, the larger version will not be “portrait” format but my usual “landscape” orientation.
I will add the larger version later in the week. So you will have to wait to see if that composition works as well as this smaller one. Watch this space!
I love looking at maps and finding out the names of places. This is particularly true of the islands that litter the coast of West Donegal near the Rosses. I am always asking my husband, what island is that? He’s usually pretty good at knowing the names (I check on a paper map later). In the summer I spotted a house on a tiny slip of an island to the south of Arranmore. Can you see it in this photograph below?
View from Arranmore
Closer. See it now?
I thought it was just one lone house (was that another house at the other end of the island, maybe?). What glorious solitude! What must it be like to stay on that island all with the spray of the sea so close looking at big Arranmore? This is my painting of the island. I was curious about the feint outlines of ruined houses I could see either side of the restored summer house. I wondered about them and their families.
This is Iniskeeragh. Ireland (like Wales) is rich in descriptive place names. They usually describe are named after features of the landscape, such as hills, rocks, valleys, lakes, islands, and harbours. In Irish, its name is “Inis Caorach” which means “Sheep or Ewe Island”. So either sheep were kept on the island (it seems pretty small for that) or its a shape reminded people of a ewe, which might be more likely?
After some research (online and in books) back home I discovered that the island had at least 12 familiesliving there permanently, it also had a schoolhouse. I find this incredible for such a small, lowing lying island. It’s 650m x 300m (2132ft x 984ft) in size. I tried to work that out in football pitches. It’s the equivalent to 40 football pitches, so maybe its not as tiny as I think. It is very low. It’s no higher than 11 feet above sea level. Yet you can read their names in the 1901 census here.The family names of the farming families are familiar Donegal ones: Gallagher, Boyle, Sweeney, Rodgers, O’Donnell and a sole Bonner, Grace (35) who was listed in the census as a knitter, she was one of only 2 knitters on the island.
These Donegal islands may seem remote to modern eyes, but they played their part in the culture and history of modern Ireland. Gola Island, Gweedore, may well have served as the model for Robert Louis Stevenson’sTreasure Island. Two men from Gola, Patrick McGinley and Charles Duggan, were aboard the Asgard, the yacht that brought arms into Howth in north county Dublin in 1914, in preparation for the Easter Rising of 1916. Tiny Inishkeeargh also had its connection with the wider world. Writer and political activist Peadar O’Donnell(1893-1986) was a for a time teacher’s assistant at the school on the island and he set his second novel, The Islanders, here. Peadar went on to become one of Ireland’s foremost radicals of the 20th-century.
Life was tough on the island. Roise Rua described her work on the island kelp-making as “tedious and exhausting”. The tenants had to pay rent of £50: £26 for the use of the land and £24 for the use of the seashore – making kelp, picking winkles or shellfish, dulse and the like.” Sadly, like many other Donegal island communities, such as Owey and Gola, the people of Inishkeeragh was forced to relocate to the mainland in the 1950s.
Sea levels played a big part as at least twice in the twentieth century an exceptionally high tide coinciding with a bad gale forced the islands to take refuge in the two houses that had lofts. They apparently spent hours “in terror, fearing the overloaded floors would collapse.” A storm in 1953 washed away the pier and the government of the day would not pay for it to be repaired. This meant that subsequent storms swept through the houses and within 5 years all the families were forced to leave the island.
There was a reunion of Inishkeeragh families and their descendants in 2015 on the island. Internationally renowned Country singer, Daniel O’Donnell, was part of the celebrations (his mother was born on nearby, Owey Island).
You can see the photos of the day on their facebook page here. You can visit the island with Arranmore Charters, be sure to book beforehand.
Addition sources for Inishkeeragh (Inis Caorachin) came from:
I had been trying to finish it but the weather and the light were so bad here in Wales over the weekend, I had to leave it until Monday. I struggle to see greens in poor light and as the grass at the bottom of the painting was so important to the success of the image, I decided to wait until I could see it.
It’s is such a joy to look at the bright blue skies of Donegal and the wonderful clear light.
It was a year ago that I painted my first painting of Donegal. Here it is. It is a small one.
It’s quite a modest painting. You could say that I started off tentatively. I was feeling my way. The light in Donegal is very clear and the scenery is beautiful. That’s an overused word in this age of social media, but it is beautiful.
My husband, Seamas (he likes counting things) tells me that I have painted over 50 Donegal paintings (including 3 commissions). That pretty much averages out at one a week. I am pleased to say that I have already sold over half of them.
I discovered that I had to use a different palette from the one that I use in Wales. The greens and yellows were more yellow ochre than lemon yellow and the sea was more turquoise (but not quite as turquoise as I first painted) thanks to the clear water.
On The Way To Arranmore
From Ferry Coll SOLD
Over to Owey Island, West Donegal, Ireland
I loved the rocky landscape of the Rosses. It was a landscape like no other I’d seen before. Someone has said to me that it’s quite alien, like a moonscape in places. I love the granite rocks. We have a massive one behind our cottage in Donegal. I feel very affectionate towards it. It’s a protective presence, especially when it’s windy.
Over to Tullyillion
Of course, when you are in a different country to the one you were brought up in, everything seems fascinating. I have loved painting both the modern Donegal houses as well as the old cottages.
From Cruit Island
Over to the Rosses
House by the Wild Red Flowers (Arranmore)
I will freely admit I am quite obsessed by landscape spotted with old cottages on the Donegal islands, on Arranmore and Gola in particular.
Across to Inishbofin
This Beauty That will Pass
A House on Gola
Up From the Pier (Gola)
Oileán Ghabhla (Donegal)
Around Cloughcor (Arranmore)
Cottage on Inishcoo
On Eighter Island
The Red Roofed House, Arranmore (Private Collection)
I haven’t really got to grips with the mountains of Donegal. What I mean is that I need to visit them a lot more, walk up them and get to know them better. So far I have just admired the “Seven Sisters”, including Mount Errigal and Muckish from a distance.
Across to Dunfanaghy
Mount Errigal from Ballymanus Beach, Donegal
Over to Kinclassagh
The Pig’s Back (Muckish) Donegal
Of course, the real joy of Donegal is the clouds. The changes skies. I am used to it raining, (I have lived in Wales for over 25 years) but the light is different by the North Atlantic Ocean. It is often more slivery, and more changeable.
From Magheraclogher Beach (Bunbeg)
Near Dunmore Strand
Rain over Dunfanaghy
I think about Donegal every day when I am in Wales. My husband will place his current favourite Donegal paintings in the bedroom and in the lounge so he can look at them whilst we still have them.
Here’s my most recent painting Donegal painting. I am currently working on a painting of Arranmore Island, unfortunately, it rained so much here yesterday, the light went and I have yet to finish it.
We are about to decamp to Donegal for the summer/early autumn. I have mixed feeling about returning to oil paints. It’s been a quite a steep learning curve getting comfortable with acrylic paint but I feel like I finally got there. I am not sure what it will be like to paint in oils again, oh the the joy of easy blending! I will continue my practice of laying down an underpainting in grey-scale paint, regardless. Here are some of my recent acrylic paintings, mostly of Inishowen Penisula (Donegal)
You probably think that artists are good at creating paintings/images in all mediums; oil, watercolours acrylic paints. Many probably are, but I am not. I need to work at it. It’s a bit like being an athlete. You might be great at football but it doesn’t automatically mean you are a great sprinter, tennis player […]
What’s in a name? It’s complicated The name of the city I am living in right now is contentious. It’s official name is Londonderry but no one here seems to call it that, not even the council. Most people in the city itself, Protestants as well as Catholics, call it Derry. This suggests it is more […]
The ‘Illuminate’ festival is running over two weekends in Derry, 17th – 20th and 24th – 27th February, from 6pm – 9pm. We visited it on Thursday night. It was very cold (double socks and thermals weather) but mostly dry. This was important was all the sites we visited were out of doors. It was a thoroughly enjoyable experience and a brilliant introduction to Derry.
New Work & Recent Sales
Kinnagoe Bay (Inishowen, Dongal)
Still, On Gola (Donegal)
On the Way to Kinnagoe Bay (Drumaweer, Greencastle)
Down to Doagh Strand (Donegal)-Emma Cownie
Lambing Season at Fanad Head
Fanad Lighthouse (Donegal)
Down to the Rusty Nail
Carrickabraghy Castle, Inishowen
Upper Dreen_Emma Cownie
Portmór Beach, Malin Head, Donegal
Down to the Rusty Nail, Inishowen
The Walls of Derry
Painting of Derry City
Derry Walls by Emma Cownie
Shipquay Gate by Emma Cownie
Over to Owey Island (Keadue) Donegal
Lighting the way to Arranmore
Old Stone Cottage in front of Errigal (Donegal
Boat at the Pier, Gola
House on Inishbofin, with distant Seven Sisters (in studio)