Posted on 19 Comments

Gower Coastal Walks: Whiteford Point

Gower-Map-M-1024x516

I have a confession to make. This walk was done out of sequence. It was done on March 28th, on the day the clocks went forward. That seems a long time ago. It was a beautiful day but very cold. Back in March when I had only got as far as Pennard and Three Cliffs, I sort of panicked. This was because I could not make head nor tail of the bus timetables and doubted that I could make it around the coastal path by public transport. So my husband, Seamas, suggested that we drive to the most out of the way places in Gower and do circular walks and then I would fill the rest in with public transport. Another blogger has since directed to the invaluable traveline.info which helped me made sense of the bus connections, when the online bus timetables seemed incomprehensible to me.

So we decided to go to Whiteford Point. It is a mini-peninsula off the northern corner of  Gower peninsula. This is seen by many as the wildest and most remote part of Gower. We drove along the narrow lanes to the northern tip of Gower, to the village of Llanmadoc. Llanmadoc Hill is quite imposing as you approach it from the South East. I generally think of Gower as having two big hills (Cefn Bryn and Rhossili Downs) but Llanmadoc Hill at 152m is pretty high too. You get a sense of how it dominates this corner of the peninsula from Cedric Morris’s painting of it in 1928.

SW_GV_GV1930_485.jpg
Llanmadoc Hill, Cedric Morris 1928 

If you drive through the ajoining villages of Cheriton and Llanmadoc, you will come to Cwm Ivy Court Farm.

Oil painting of Cheriton Gower by Emma Cownie
Far Hill Above Cheriton, 2016 (SOLD)

On the opposite side of the leafy lane is an open gate to a field, which acts as a temporary but well-used car park. When we arrive after lunch, it is pretty full.  There is an honesty box built into the wall for walkers to put their car park fee of £1. Considering the National Trust charge up to £5 at Worms Head, it seem like a bargain.

 

We then walk down the lane past a small number of houses, the last one has a ice-cream tub of drinking water for passing thirsty dogs. Once you pass through the five-bar gate you are on National Trust land.

In 1953 it was designated a Site of Special Scientific Interest as it is an internationally important feeding ground for wading birds and wildfowl. Not long after in 1965, Whiteford Point came up for sale by auction and there was great worry that it might fall into the “wrong hands”. Fortunately, the National Trust was able to buy it. This was the first property to be acquired as a result of something called “Enterprise Neptune”, which was the National Trust’s campaign to protect Britain’s coastal heritage.  So this area is a now a nature reserve owned by the National Trust.

Whiteford Point Map
Whiteford Point

If you follow the lane down hill there there is a choice.

Straight ahead is are the marshes and sands dune and eventually open beach that joins with the wide expanse of Broughton Bay, to the west. If you take a turn right through another wood gate you are then in Whiteford Burrows.

IMG_1346
Pine Trees

Whiteford (pronounced Whit-ford) is apparently derived from the Danish ‘Hvit-Fford’, meaning white ford. The Vikings left their mark on the outward-facing west coast of Gower, in their placenames at least. Look at left side of the map above. Worms Head, Burry Holmes and Whiteford are all derived from Scandinavian words. Perhaps, the Viking who traded and marauded up and down the Bristol Channel as late as the 11th Century, only ever gave names to the landmarks they could see from the water, but they certainly stopped by at Swansea, whose name is also Scandinavian in origin. It means “Swein’s Eye” or Island. There used to be an island at the heart of Swansea until the Victorian diverted the river. The Welsh call it “Abertawe” which means the mouth of the River Tawe.

 

Once into the the nature reserve you pass the very cute Burrows cottage, which used to be a forester’s cottage (you can rent it) and further along the path Cwm Ivy Bunk House (which you can also rent by the night). There  are no other houses on Whiteford Point. It is a very lonely place from a human point of view. It is however, full of undisturbed wildlife.

IMG_1383-002.JPG

Either side of the path are many grand pine trees, smothered with massive pine cones. They are Scots and Corsican pines. I think gives the place a Mediterranean air. They were planted from the 1930s onwards. There are hundreds them, thousands. I have read somewhere that there were 20,000 in the 1970s. They help certainly help stabilise the dunes and stop the sand blowing away.  You can see these trees from miles around.

IMG_4395
The pine trees as Seen from Hills Tor

I get excited when I see what I think are public toilets in a very tasteful wooden chalet on the path ahead. I am always looking for “proper” places to relieve myself instead of the inevitable bushes.

IMG_1396.JPG

Not toilets!

Ah, what a fool, I am. As I get closer I realise my mistake. Its not a nice artisan toilet block. It’s a bird hide for watching wildlife on the salt marsh to the right.  The door is open and we can see its empty. So we go in and peer across the flat marsh. We don’t have the patience to wait.

IMG_1386

 

Oil painting of Wood at Whitford Sands Gower
The Woods at Whiteford Sands Professional Quality Print 50×40 cm (with mount) £45.00

[wpecpp name=”Woods at Whiteford Sands Large Mounted Print” price=”45″ align=”left”]

Once we have passed the bunk houses we follow a sort of path through the pine woods, climb a stile over a wire fence and we are on the burrows.  Whiteford Burrows, or sand dunes, cover an area of three square miles. It’s bigger than it sounds. There is a vast expanse of beach on the other side of the dunes, leading out along the edge of the Loughor Estuary.

It was a long walk along the beach – it a very empty beach. Two miles of it to Whiteford Point. People are small dots off in the distance.

IMG_1467-001
Whiteford Sands (towards Broughton Bay)

The landscape here is reduced to stripes of colour: Sky-sea-beach-dunes. The tide is out and the sea is very distant.

IMG_1478.jpg
Whiteford Sands

I am slightly unnerved by the signs saying informing me that Burry estuary was used as a shelling range by the British army during World War Two and the unexploded bombs are still likely to turn up in the sand dunes. Yikes! I take this seriously, I remember a World War Two bomb that was recently found in the near by Loughor River although I can’t find the story online. In 2015 a family found what they thought was a “buoy” covered in barnacles on the northern side of the estuary, at Burry Port. The kids spent quite a bit of time jumping on the strange object and had their picture taken next to it.  You have probably guessed it by now. It wasn’t a buoy it was an old Second World War bomb. The beach was cleared and the “buoy” was blown up.

2B74EA3F00000578-3201972-image-m-16_1439889731708.jpg
That’s NOT a buoy!

Shells still turn up at Whiteford Point too. In September 2014, for example, some sixty shells were exposed at Whiteford Point, and bomb disposal teams were summoned to deal with them. The firing range was also used on a regular basis for the firing of chemical shells during the Second World War, including ones containing mustard gas.  Earlier this year there were reports of the Ministry of Defense blowing “something” up earlier this year in the Loughor Estuary so I don’t fancy taking my chances and stick to the beaches. I expect most people do the same and the dunes are left undisturbed.

IMG_1488.JPG
Beware Unexploded Shells!

 At Whiteford Point there is a curious cast-iron light house. It is the only wave-swept cast-iron tower of this size in Britain.

IMG_1514.jpg
Whiteford Lighthouse

It reminds me of a giant bird cage. The local seabirds, gulls and cormorants use it as a convenient perch. It is not close to the beach but it can be reached at low tide, although its a long rocky walk over the seaweed-covered rocks.

Oil painting Whiteford Lighthouse by Emma Cownie
Wave-Swept Iron Tower, 2018  Professional Quality Print 50x40 cm (with mount) £45.00

[wpecpp name=”Wave-Swept Iron Tower Large Mounted Print ” price=”45″ align=”left”]

It reminds me that much of the Gower coast was always hazardous to shipping. This area in particular was very treacherous and a large number of ships were wrecked at both nearby Broughton Bay (where ships used to be able to anchor in the bay until it was silted up in mid-nineteenth century) and here along Whiteford Sands.

Tragically, the lighthouse failed to prevent a one of the biggest shipping disasters in the area, which took place in January 22nd 1868. On this calm winter night 16 ships out of a fleet of 19 sailing out of Llanelli, sunk in a single night and possibly up to 30 or more lives were lost. These ships had been towed out of Llanelli by steam tugs. They had been cast off and rounded Whiteford point, aiming to clear Burry Holmes with the ebb tide. This was in the age of sail and the ship needed a breeze to power them on their way.

Unfortunately, the wind died and a heavy swell tore the ships from their anchors and drove many of the ships onto the rocks at Broughton Bay, or smashed them against each other. As it was such a quiet night, no one on shore had any idea of the disaster that was happening in the estuary. A large buoy and chain and the remains of a wooden hull near Whiteford Point are all that is left of these ships.

3859654827_5632a33f28.jpg
Image from www.mylifeoutside.co.uk

Although the beach seems utterly deserted the air is filled with the high pitched piping sounds of little wading birds.

IMG_1539

They are too far off to identify with any certainly, but I think they might be oyster catchers. We are feeling tired after our long walk along the beach. We sit on the edge of the dunes for a rest and chocolate biscuits, listening to the euphoric trilling of skylark song.

IMG_1540.JPG

Around the tip of Whiteford Point the path reappears and winds its way along the edge of the pine woods. The path is very water logged and at many points it resembles a series of small still lakes rather than a path. So we hop from muddy patch to muddy patch.

IMG_1628-001.JPG
Looks like a lake but its the path!

Here there is lots of bird song – blackbirds, ravens, rooks and we saw linnets, larks and tiny robins. On this side of Whiteford Point, it is very flat marshland. The sea is but a distant memory. This is clearly a river estuary and the river is far off beyond clumps of pine trees. The marshes are covered in lush grass and edged by yellow reeds. There are shaggy marsh ponies, who seem very small in comparison to their cousins who graze on Cefyn Bryn and Fairwood Commons.

IMG_1569-002.jpg
Weobley Castle in the distance

As we get closer to Cwm Ivy, our starting point, we can see the village Llanmadoc spread up the hillside. We pass the late Medieval sea wall. There has been a sea wall at Cwm Ivy since the late 17th century when it was used to reclaim the marshland from the sea. The coastal path used to follow the wall round to Llanmadoc. Not any more, not since 2014 when the wall was breached by storms. The Welsh Government Shoreline Management policy stopped the National Trust from repairing the wall and breech.  This ‘No active intervention’ policy of letting nature take its course was a controversial decision at the time. So this fresh water marsh has now returned to being a salt marsh. The breach is too big to jump over, there’s no bridge so you have to take a diversion at Cwm Ivy to reach the rest of old coastal path (which we did on another day).

The walk took us three hours, but as much of it was on sand so it was pretty tiring. We only took 4 biscuits with us, thinking that our lunch would see us through. I decided that I should have taken a couple of bananas and sandwiches too as you always need more food than you think you will need. If you don’t eat them I know of two helpers who will happily finish them off for me.

IMG_4256.JPG
Biscuit? Yes please!

Next week: My final very long walk around the Gower Coastal Path.

 

[maxbutton id=”5″ ]

 

 

 

 

Posted on 15 Comments

Catching the Morning Light

When I get hold of an idea I can get quite obsessive about it. Lately, it’s been early morning light. I think it sprang from a post I wrote about transposing some of the techniques I used for my “Urban Minimal” project to what I only half-jokingly called “Rural Minimal”. I think that my rural Gower houses did fulfil the spirit of “Rural Minimal” but it got me think about shadows. Now, shadows were my first love. They still are. It’s hard to find any painting of mine without blue/mauve/purple/brown shadows. I go through tubes of Lukas 1862 Mauve at a steady rate. Many of my Gower woodland paintings used early morning winter light.

 

ENCHANTED WOOD 2
Enchanted Wood  Limited edition mounted print (unframed) 

[wpecpp name=”Enchanted Wood Large Print ” price=”45″ align=”left”]

And why do I love shadows so much? It’s because they act as a foil to the light. The orange next to the dark mauve positively leaps off the canvas. Perhaps, its a cheap way of thrilling the viewer? I am always very impressed by artists who capture a gloomy or overcast landscape. Plein Air painters prefer overcast conditions because they are more constant and American artist, Jeremy Sams,  demonstrates this really well in his painting. He says “The good thing about painting on an overcast day is that you don’t have to chase shadows. The light remains very constant and my acrylic paints stay wet for a good long while.”

IMG_1404
Jeremy Sam’s Plein Air Study

However, I love shadows. They make a composition interesting and dynamic. So, anyway, the post about Rural Minimal got me thinking about shadows in rural settings. I realised that because I have been focusing on my Gower Walks and working to bus timetables that I was mostly walking in the late morning and finishing up in the early afternoon. I was becoming increasing frustrated that my lovely walks weren’t inspiring the sort of paintings I like to make. The light wasn’t right. Midday light, especially in the summer, has a tendency to bleach out the details. This is what shadows “do”, they show us the details of the landscape.

IMG_0519d
Light Shadow

I have always been a morning person. Each morning is like a fresh start to me. What ever happened yesterday, last night is gone.To be honest, I think that have always done my best work by 11 am. When I was writing my PhD thesis, many years ago, I’d do my best writing between at 8 and 11 am. To be honest, most of the work I did after 11 am was fact checking (this was in the days before the interest when you had to look things up in books) and faffing, but I’d dutifully stay at my desk til 5 pm.

IMG_9875c.JPG
Bernard Street Bus Stop (Back of Brynmill Launderette)  (Oil on Linen Canvas, 33 x 41 cm unframed)

[wpecpp name=”Bernard Street Bus Stop ” price=”250″ align=”left”]

 

So I decided that I need to seek out early morning light on Gower. This long spell of hot weather meant that morning skies were often (but not always) clear. That meant getting up early.  I have been dragging myself out of bed just after sunrise. It’s summer and the sun rises just after 5 am in here Wales. It is painful getting up that early but once I have had a cup of coffee I can face the outside world, just about.

The first time I drove down to Three Cliffs Bay, 6 miles away, I was so tired that I actually forgot my camera! I felt so stupid but I got back in my car and drove back home to fetch the darn thing, delaying my “start” by 30 minutes.

Pobbles Bay on Gower
Pobbles Bay after 8am

Compare the light and shadows to yesterday morning (when I remembered my camera) and actually got there for about 6.30am.

Pobbles Bay, Gower
Pobbles Bay 6.30 am

It’s different. Not necessarily better, just different. Do you know what, it doesn’t matter. I like both conditions.  The changing tides always also variety and interest. Summer Morning light has a beautiful rich quality to it and I like seeing how it changes, the shadows shorten, darken, light break over the cliffs, as the morning progresses. I have sat down on the cliff tops and watch the light change.

Early Morning, Three Cliffs
Early Morning, Three Cliffs  (Oil ob Linen canvas, 80×60 cm, unframed)

[wpecpp name=”Early Morning, Three Cliffs” price=”750″ align=”left”]

I like seeing nature first thing. I like seeing the dew. In this very dry summer it’s a godsend. The grass on rolling fairways of Pennard golf course has turned the colour of straw except for the patches where the dew collects in the morning. There it’s a fresh green. Walking down towards the sea, along the sandy path by the golf course, I often see the white tails of wild rabbits dashing into the undergrowth. Their numbers in the UK have fallen in recent decades but thankfully, there seem to be plenty on Gower.

Bunny
Welsh Wild Rabbit

Free-range cows roam the cliffs of Pennard and South Gate as well as the valley next to Three Cliffs Bay. They are usually busily eating the grass they can find down in the marshy valley or in the shadows of the thorny gorse bushes, or even in the Golf Club car park before the golfers arrive!

Cow in Car Park at Pennard
Cow at Pennard

 

Cows chewing the cud (mid morning) and cows at work, eating grass (early morning).

I delight in the long shadows and the reflections at low tide. How the reflected light is more golden than the light on the rocky cliffs.

 

Three-cliff-reflections
Three Cliffs Reflections  (SOLD Oil on Linen canvas , 80x50cm, unframed)

At high tide the colours all change again.

 

I have got up early and visited Rhossili, Penmaen and Three Cliffs Bay six times in the past fortnight. This includes the morning I thought the light cloud would clear but instead it thickened. A passing Jack Russell was photographed, as well as the rabbit above. So, I sat down and sketched.

 

I will keep going until this weather goes off, while may well be very soon. I will be working from this research for quite a while after it has clouded over again.

A while back, last June in fact, I read an excellent blog post by American artist Luann Udell entitled “How Long Did It Take You To Make That?” in which she discusses all time-consuming processes and skill that go into creating her pieces. It occurred to me that while the actual time it takes to paint my work may take anything from one to three days, depending on the size of the canvas, the actual thinking, planning, gestation, waiting for the weather and preparation takes a lot longer. I should also include in that waiting for the seasons to change. Just yesterday I was remarking to my husband that the heather was starting to flower and so another visit to Rhossili Downs would be in order soon. Nothing stays the same in nature, or in life! My job is to observe and attempt to capture some of those fleeting changes.

 

[maxbutton id=”5″ ]

Posted on 24 Comments

Landscape Painting – Rural minimal

Last summer I started my series of “Urban Minimal” paintings of the streets of Brynmill, Swansea. These paintings were my “Hollowed Community” project which were exhibited in the that year’s Madeinroath Festival. That’s not a typo, by the way. The festival organisers stipulate that you type it as one word Madeinroath, rather than three “made in roath”. Roath is a suburb of Cardiff, by the way. They also stipulate that the “in” in “Madeinroath” has to be in red too. It’s driving my spell checker crazy!

My “rules” for composition and painting this project were:-

  1. No cars

2. No People

3. Bright light. There must be shadows – at diagonals if possible.

4. Simplified forms – there must be little detail in the final painting. I want to explore the interplay of the geometry of shadows and man-made structures – the tension between the 3D buildings and the 2D shadows. Simplified blocks of colour.

These rules worked well in an urban setting, especially with the sea light we have in Swansea.

Since then, I have been caught up in my Gower Coastal Walk.

Worms Head Coast Watch Station
Worms Head Coastwatch Station

By my calculations, I have three, maybe four more Gower walks to do in order to complete the length of coastline but other commitments are keeping me from finishing. Firstly,  I have a pile of exam scripts to mark. I am rusty and I mark slowly these days. Secondly, a summer virus has made me feel under the weather.

I haven’t consciously applied the urban minimal rules in a non-urban setting. What’s the problem? The applying Rule #1. “no cars” and #2 “no people” rules is easy enough. As is #3 “Bright light”. Then there comes the difficulty. The second part of Rule #3 “There must be shadows – at diagonals if possible.” Walking late morning, mid-day day means that there are few long shadows and they are difficult to find on beaches too. Although, there have been a few.

Langland.jpg
Langland (SOLD)

 

Three Cliff Bay at High Tide.jpg
High Tide at Three Cliffs Bay  Limited edition large mounted print  (free postage)

[wpecpp name=”Three Cliffs at High Tide Large Mounted Print” price=”45″]

Finally, Rule #4 “Simplified forms – there must be little detail in the final painting. I want to explore the interplay of the geometry of shadows and man-made structures – the tension between the 3D buildings and the 2D shadows. Simplified blocks of colour.” I never really followed this rule to the letter as I thought details, such as window sills, and reflected light on glass, breathed life in pictures. It was knowing where to add detail and where to simplify that was important.

Coloured Sands at Three Cliffs
Coloured Sands at Three Cliffs Bay 

Limited edition large mounted print (free postage) 

[wpecpp name=”Coloured Sands at Three Cliffs Bay Large Print” price=”45″]

Here, I have just been very cautious about going “too far” with this in a rural setting. But I have been edging that way, such as with my treatment of sand. Other aspects of my composition such as clouds and vegetation have not really been “minimal”, not in a conscious way anyway.

I think I need to challenge myself and make myself think about how I am tackling these subjects. I think my recent paintings of rural buildings (that’s cottages to you) has been much more successful.

IMG_2842-001
Port Eynon Shadow (SOLD Oil on Linen Canvas, 46x38cm, unframed)

You may well say are just rural buildings instead of urban buildings. Yes, but they are stepping stones. I am still thinking about how I apply these rules when there isn’t a building in the picture!

IMG_2864aa
Afternoon in Port Eynon (Oil on linen canvas 33x41cm unframed) 

[wpecpp name=”Afternoon Port Eynon ” price=”280″ align=”left”]

IMG_3154a
Port Eynon Corner (SOLD)

If you want to buy any of these painting clink on the link below each painting or look through my Buildings and Streetscapes gallery.

[maxbutton id=”1″]

Posted on 18 Comments

Waiting for the Tide

Painting of Tenby Harbour

Before I visited Tenby, on the Pembroke coast, I had this vague idea that it was something like Barry Island, on the Glamorgan coast near Cardiff. If you have never heard of Barry Island, it was a Victorian holiday destination for day trippers from Cardiff and the South Wales Valleys. It had a “Pleasure Park” with rides and lots of shops selling rock and candy floss and it also had a Butlins holiday camp but the rides and the holiday camp are long gone now. It has a nice beach but its not as popular as it used to be.

Tenby Painting
On Tenby Harbour Beach

Well, Tenby is nothing like that. It’s tasteful, historic, and enduringly popular.  I love Tenby’s real name. That is it’s Welsh name which is “Dinbych-y-pysgod” meaning fortlet of the fish. It still describes the old town well as as it’s solid town walls still survive as well as its harbour. Its a delightful place to visit with pretty Georgian houses and two large beaches.

Tenby has a special place in my heart because in the midst of my PTSD breakdown and recovery I painted a picture of Tenby harbour.

Painting of Tenby Harbour
Tenby reflections (2013)

I was very emotionally fragile at the time and I really I enjoyed painting the pastel colours of the harbour buildings. I get a lot of pleasure from colour. Other people got pleasure from it too because it was one of the very first paintings I sold as a semi-professional artist. The collector who bought it later told me that she was going to redecorate her lounge to match the painting! I was so touched by this. I had so little confidence at the time that it meant a great deal to me. I also sold many prints this painting. As you can see I did many paintings of Tenby Harbour but I eventually moved on to other subject matters and different challenges. I particularly focused on people portraits closer to home in Swansea and paintings of Gower peninsula, closer to home.

So last month, I decided that Tenby was overdue a visit. I had been watching the weather forecast for weeks. Eventually the forecast was for a day of wall-to-wall sunshine.  The only problem was that it was very cold with a bitter wind. Never mind. I wrapped up well with thermals and two pairs of socks and got up early to catch the 7.50 train from Swansea to Tenby, arriving at 9.30.

I had set off early because I like to catch the morning light with its long shadows. I also wanted to see the harbour at high tide with the boats in the harbour. The only problem was that as soon as arrived at the harbour I could see the the sun was in the “wrong place” and most of the boats had been pulled ashore and covered up! The previous times I had visited Tenby was in the summer, later on in the day.

IMG_8763.JPG
Tenby – sun in “wrong place”

So, I had to wait. So did. I waited in the way I usually do, by moving. I walked and walked. In the end I walked around Tenby for 6  hours, taking photos of the shadows and the people. Despite it being mid winter it was the school mid term break in England (not in wales) and Tenby was full of families, wrapped up, despite the biting wind, and enjoying the sunshine.

I had chips for lunch watched by three beady-eyed seagulls and a chocolate ice-cream. I had to think about that as it was so cold but in the end I gave in had one – it was delicious.  I had intended to catch the 1.40 pm train back to Swansea but i could see that the light was changing and I knew that it was low tide at 4pm so I tried and waited some more. I walked up the habour walked and climbed half way down the steps to take photos of the four or so boats that were in the harbour. It was strange waiting for the tide and light because they eventually changed faster than I thought they would. All of a sudden the tide had retreated far enough for me to walk out into the harbour and take photos of the reflections. Bingo. This was what I was after.

Tenby Harbor
Retreating Tide

And then, almost miraculously the tide revealed the sandbanks on the far side of the harbour, by the end of the harbour wall and I could gingerly climb down some seaweed-covered steps and see the harbour in it’s full glory. I don’t think I took off my fingerless gloves once in Tenby, and I did appreciate the heating on the little train back home. I just made the 4.40 pm train back to Swansea and get home in daylight.

Tenby Harbour at Low Tide
Tenby Harbour at Low Tide
Painting of Tenby Harbour
Waiting for the Tide

My day in Tenby was all about patience and waiting for things beyond my control.  Looking at this, my most recent painting of Tenby harbour I can see how much my work has changed, and hopefully how much I have recovered from those incredibly difficult times back in 2012-13. The painting is much larger and calmer and more confident than any of those I painted before. Large paintings, almost by definition require confidence. The winter tones are less vivid than the summer ones, despite the bright winter sunshine. I will be back for the summer light.

See my coastal paintings for sale here

Posted on 16 Comments

Gower Walks (wet feet are optional)

IMG_4453-001.JPG
Fall Bay

The sun is out. So I am out too with my camera. Looking for inspiration for some Gower landscape paintings. We drove down to Rhossili at low tide to look at the rocks. My husband is from Northern Ireland and he was feeling homesick for some monumental rocks like those at Giants’ Causeway. Now, Gower doesn’t have pillars of amazing basalt rock but we do have some pretty grand tors.

The walk from the National Trust car park at Rhossili was certainly bracing. The wind was super cold and strong enough to make me nervous about approaching the cliff edge to take photos. People have fallen to their deaths here. The sheep are all pretty blase about it, though.

IMG_4859.JPG
Blase Sheep in the wind

Behind the bay rises Rhossili Down to a height of 600 feet. It is the remains of an old beach level much eroded later on by the ice sheets of the last but one ice age. The bench of land below, with the Old Rectory in its middle, was caused by earth slumping down from above during a cold phase. Although, it seems like a wild and out of the way place, people have been here for a very, very long time. A Neolithic hand axe – the oldest human artefact found in Wales – was found here and is now on display in The National Museum in Cardiff.

IMG_8295
Worm’s Head

We walked into the wind and past Worms’ Head with its exposed causeway and found a flock of sheep eating turnips scattered amongst the straw-stubbled ground. We walked along cliff tops, and looked over a long dry stone wall inland to the medieval strip farming that still continues in the fields there. This is one of only a few Medieval “Vile” Field systems left in Britain.

IMG_4734.JPG
Sheep on a Medieval Strip Field

The path then splits. You can continue along to top of the cliffs to Mewslade or take a path to the right which dips down to the top of Fall Bay. There is a small collection of wooden boats way above the beach, some are attached to metal rings embedded into the rock. Its a lot easier to make your way down to the beach through this path than it is via a gap in the cliffs at the east end of the beach.

The high parts of Gower are made of the oldest rocks. The downs that loom over Rhossili  and Cefn Bryn are made from Old Red Sandstone.The rest of Gower is made from Carboniferous Limestone. The coastline cuts across a bed of folded of Limestone at an angle of 45 degrees towards the sea, to expose curious diagonal layers of rock.

IMG_8478
Layers of Rock at Fall Bay

IMG_4632-001.JPG

View Towards Mewslade Bay

So here my afternoon takes a slightly wetter turn. I had climbed onto rocks that lay between Fall Bay and Mewslade Bay further along the coast. The sea was crashing around me. I felt quite safe. The rocks were not slippy. I thought the tide was still going out.

Then my husband shouted at me “The Tide’s Coming in” and I looked at my watch. It was exactly 3 o’clock. Low Tide. For some reason, I then decided that the crashing waves were coming a lot closer. I hesitated, the patch of beach I had jumped from onto the rock was submerged in incoming water. I waited. The water just got deeper.

Then, my stupid PTSD head kicked in. It goes for the worst scenario. What if it never retreated? What if was going to get washed away? I was going to get washed away! I was certain. So, I panicked and jumped into the water. It came up to my calves. It was really cold. The bottom half of my jeans were very wet and my walking boots full of water. I sloshed through the sea water and onto dry land. Emergency over, I tried to cover my sense of foolishness by blaming my husband for “frightening me”.

I didn’t drown or even catch cold for having to walk back to the car with wet boots and drive home again. I had a hot bath as soon as I got home but there’s always part of me that believes that you have to suffer (or at least go to great lengths) in the process of creating your art so I find mild exhaustion and hardship rather satisfying. As if deep down I think it will somehow make the paintings better!

IMG_4583-001.JPG
I have cold wet feet, can you tell?
Thurba Head
Thurba Head
Posted on 21 Comments

Time to Call it a Night?

I woke up a bit earlier than I usually do this morning. It was just before dawn. The night was no longer inky black but had a bluish tinge to it. The light has been changing ever since. Now it is mauve. It will lighten until the light is pinkish, then finally white. Throughout the course of the winter I have been used to waking in the dark and waiting for the sun to rise. No so much recently. The days are lengthening noticeably. Instead  of night arriving unexpected at 4 o’clock it now holds off about tea time. This gradual lengthening of the day has a natural rhythm and logic.

The sudden arrival of British Summer Time (BST) or Daylight Saving Time (DST) when the clocks are turned forward an hour in late March does not. It feels like we are catapulted into the summer with more light than we know what to do with. I find it odd that I am sad at the arrival of BST because all that extra daylight means I can paint for longer. I should be happy. I am happy but the abrupt lengthening of the day feels  wrong. The “loss” of an hour is also tiring. It’s much worse in the autumn. Instead of easing into winter we are hurled into the darkness. Others feel this way too.

The EU is debating this right now. There have been calls for the European Commission to launch a “full evaluation” of the current system and come up with new plans, if necessary. In Europe, currently, EU law sets a common date in spring and autumn on which clocks must be put forward and back by one hour in all 28 member states. Supporters of the DST say it saves energy and reduces traffic accidents but critics argue it can cause long-term health problems and studies have generally failed to show significant energy savings associated with the shift.

Blue Hour on Uplands
Blue Hour on Uplands

They hate it in Finland. More than 70,000 Fins (out of 5.5 million) signed a petition asking the state to give up the practice. French MEP Karima Delli argued that moving clocks forward to summer time left people tired and led to increased accidents”Studies that show an increase in road accidents or sleep trouble during the time change must be taken seriously”, the French MEP said, adding that estimated energy savings were “not conclusive”. Belgian lawmaker Hilde Vautmans, however, said that changing daylight saving could mean either losing an hour of daylight every day for seven months in summer or sending children to school in the dark for five months over winter.

Night Walks
Night Walks

I was surprised that the USA also uses DST. I assumed that with so many time zones, nine, that they would not have wanted the added complication of DST.  It was introduced during the Second World War and most mainland states areas still have DST except Arizona (although the Navajo have DST on tribal lands). Many studies have been done in the US that show the negative effects of the biannual shift to DST. Losing that hour’s sleep in spring affects health; strokes and heart attacks are more likely, there are more traffic accidents and it affects relationships, tiredness causes more arguments.

Night on Oakwood Road
Night on Oakwood Road

Interestingly, one big country has tried life without DST. In 2011 Russia   (who have on less than 11 time zones in their massive country) first tried clocks on year-round summer time but that proved unpopular then in 2014 switched to permanent winter time or “standard time”. Russian MPs said permanent summer time had created stress and health problems, especially in northern Russia where mornings would remain darker for longer during the harsh winter months. However, I have yet to discover whether the return to permanent “winter time” is popular with the Russian people.

So if I want to avoid this biannual lurch forward and back in the day, I can move to Russia, Arizona or one of the other 70 countries that don’t bother with it including Japan, India, and China.

Night Falls on Uplands
Night Falls on Uplands
Posted on 16 Comments

Our favourite female artists (deceased) part 2

Thank you for all these suggestions. I was unaware of any of the Australian/New Zealanders but very much enjoyed finding out about them, especially Rosalie Gascoigne. It just shows me what a Euro-centric artistic education, I have had.

Georgia O’Keefe– She is best known for her paintings of magnified flowers, animal skulls, and New Mexico desert landscapes. Her Jimson Weed/White Flower No. 1 1932, the most expensive painting by a female artist ever sold at auction. I have never been that excited by Georgia O’Keefe’s work but I suspect that if I saw one of these massive works in real life, I feel diferently about them.

Rosalie Gascoigne, was a New Zealand-born Australian sculptor. She was one of Australia’s leading avant-garde artists. She was also a phenomenon. She did not begin her artistic career until she was in her fifties. She’s an inspiration to all us middle-aged artists. She had her first solo exhibition in 1974, at the age of 57. She showed at the Venice Biennale in 1982, becoming the first female artist to represent Australia there.

Emily Kgwarreye, was an indigenous Australian artist from the Utopia community in the Northern Territory. She is one of the most prominent and successful artists in the history of contemporary indigenous Australian art. Her painting, Earth’s Creation 1, sold for $2.1 million (£1.2m, I think) at auction in Sydney in November 2011. I love the sheer scale of these works.

Margaret Preston, was one of Australia’s most significant artists. She was a key figure in the development of modern art in Sydney from the 1920s to the 1950s. Renowned for her paintings and woodcuts of local landscapes and native flora, she was an outspoken public voice on Australian culture and championed a distinctly Australian style, based on the principles and motifs of modernist, Aboriginal and Asian art.

Grace Cossington-Smith, she is one of Australia’s most celebrated 20th century painters. An important early exponent of modernism in Australia, her work formed part of the first significant wave of Australian responses to European post-impressionism. A brilliant colourist, she drew her subject matter from the familiar surroundings of her home and her experience of Sydney city life, which she transformed into vibrant images of light-infused colour.

Clarice Beckett, nowadays she is recognised as one of Australia’s most important modernist artists. She was a tonal painter and she relentlessly painted sea and beachscapes, rural and suburban scenes, often enveloped in the atmospheric effects of early mornings or evening. After her death her work fell out of fashion and her work was largely forgotten for over 30 years. In 1970 thousands of her neglected paintings were rediscovered in a farm shed in rural Victoria which prompted renewed interest in her work. Her work surprised me, I thought it was very European in tone. I usually associate Australia with strong sunlight and these gentle, hazy works were a revelations.

I have one final installment to make. I thought that these works were so powerful that they deserved “space” to breathe rather than being crammed into an overlong list. If you have any more suggestions as to who I should include please add them in the comments section.

 

 

Posted on 9 Comments

Summer daydreams in the dark winter.

IMG_6007.JPG
Last Swim of the Day (Port Eynon)

I always struggle in the winter. It creeps up on me. I start to feel down although nothing particularly bad has happened. I feel myself start sliding. Then the thing takes on an almost physical shape. I can feel the edges of the thing starting to weigh heavily on me. Then, in the back of my mind, a thought dimly appears; “You Need Light”.

I suffer from Seasonal Affective Disorder (SAD) or winter depression, although I can get it during really wet summers when the days are overcast, day after day. This year has been particularly tough. I am often thinking thoughts like “Why is it so dark?”, “Oh no, is it night already?” and “How long until the sun comes up?” It seems to get worse with each passing year. Maybe it just because this winter has been particularly cold?

Fortunately, I have a couple of SAD lamps and one of those alarm clocks that will mimic a sunrise. I just have to remember to switch them on and sit next to them. I don’t always do so. So, here I am now with a lamp on and I can feel it cheering me up getting the hypothalamus in my brain to work properly. Earlier, when there was some gloomy daylight I painted a couple of summer beach scenes. I felt very happy painting the people on the beach in the blinding summer sun. I thought about the day back in the summer we visited Port Eynon, on the South Gower Coast.  The sea was glassy. It was so warm that paddling was wonderful. We had chips for tea. It was lovely. It was a day when you didn’t feel the need to “do” anything. You were quite happy just sitting in the shade watching the people on the beach.

I have long suspected that my tendency towards SAD is one of the reasons why I paint so many sunny and bright scenes. I feel much better for thinking about this wonderful summer’s day and painting these two beach scenes.

Family Outing to the Beach.jpg
Family Outing to the Beach (Port Eynon)  Oil on Linen Canvas 46x38cm unframed

[wpecpp name=”Family Outing to the Beach ” price=”280″ align=”left”]

 

[maxbutton id=”6″ ]

 

 

 

 

Posted on 9 Comments

Snow Remnant (I found some old snow)

I got to walk on frozen snow earlier in the week. I had to travel all the way to the Cotswolds to find it. There had been a foot of snow the week before but it had almost all gone. Almost. There were remnants left in the cold corners of the fields where the low winter sun’s rays did not directly warm them. It even rained a few times when I was there but these remnants did not melt. It was too cold. So, I got to experience a small thrill as my boots crunched on the ice. It was fleeting but fun.

25550526_815047975348647_6983401436866010889_n.jpg
Snow Remnant