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Canisland Woods – a Gower painting

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SOLD

This is the last of the summer wine of a substantial series of oil paintings of a woodland area in Gower Pensinsula between Ilston and Parkmill, which the locals call Cannisland Woods.

It is amazingly beautiful at any time of the year but the light is rarely better than in Winter when it is glassy clear and this helps create a riot of colours and hues in this most dank time, in the mulched leave-layered ground, in the trickling everchanging brook of the Killy Willy, in the distant haze behind the barren trees and in the wonderfully green-mossy trees and shiney, slippery brown barks of the twisted trees by the Killy Willy.

This is another “refractionist” (expressionist) style painting which is similar to Sapling Wood and Rainbow Wood in it’s sweeping streaks of colour but much more grand in it’s ambition and luxuriant in its detail. This will probably be the last of this series of paintings for some time so enjoy.

The painting has sold but you can buy a large limited edition mounted print here

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One Impulse from a Vernal Wood

As this oil painting depicts the end of March and the coming of spring, one of my artloving friends sent me a section of a poem by William Wordsworth which he felt my paintings of this area of Gower expressed to him.

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One Impulse From Vernal Wood (SOLD)

“One impulse from a vernal wood
May teach you more of man;
Of moral evil and of good
Than all the sages can.

Sweet is the lore which nature brings;
Our meddling intellect
Mishapes the beauteous forms of things
-We murder to dissect.

Enough of science and of art;
Close up these barren leaves;
Come forth, and bring with you a heart
That watches and receives.”

 

Limited edition mounted prints are available here 

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Down by Killy Willy

Down By Killy Willy

“Down by Killy Willy” – A return to the scene of much of my recent inspirations for painting landscapes.
I just love how the light is caught and moulded around the tree trunks by the bright silver sunlight, bleaching out the barren, branched trees.
I love how the warm jacket of greeny moss blends and is balanced by the muddy browns under the water surface, visible through the dark shards of tree shadow falling on the still water.
It is so pleasingly rustic and complementary in it’s colours as sometimes nature only can be.
The name Killy Willy refers to name given ;locally for this brook or pill, by the local people around Ilston in the Gower Peninsuala, near Swansea, in South West Wales.

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Down by Killy Willy (SOLD)
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With the Longer Days the Paintings get Bigger!

I work part time as a teacher and have 6 weeks of holidays in the summer.

These means I have more concentrated time to paint.

My paintings grow in size during the summer and I have a chance to explore different artistic themes.

So summer represents a time of greater experimentation and size of paintings, especially my “refractionist” landscapes that take about three days to paint as it is time consuming, breaking down light into colour segments. This has become a signature style although I spend increasing time painting urban portraits of city scenes and people portraits of city folk.

Here is a “refractionist” oil painting I painted this week called “Toward Pennard Pill” which is 92 x 73cmm and is £495 to purchase.

https://www.artfinder.com/product/towards-pennard-pill/

“This is a refractionist oil painting of a much loved inspiration for several of my works, the wooded area of Ilston in the Gower Peninusla, near Swansea. This brook or pill leads to the sea at Three Cliffs Bay, via Pennard Pill, hence the title.”

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SOLD
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Inner Light

Delighted to say I have just SOLD a Giclee print of this painting “Inner Light ” via Artfinder – also now on it’s way to the USA!

inner light

 

“This is another refractionist painting and is almost an inverse of “Up Cwmdonkin”. Instead of the refracted light creating a stain glass effect falling on the outside fringes of a wood, here it illuminates within the hidden chamber of a forest, which gives it a heightened, magical or enchanted feel. It feels like a secret wood of childhood fantasy and imagination. I like how the brillant rainbow colours contrast with the jet black and how the inner sanctum of light is framed naturally by the surrounding trees, inviting one into the shower of light and colour. But is this scene too good to be true? Is there a Brothers Grimm malevolence here, in this painting? Do the black trees signal a menace, a foreboding or do these encircling trees call one into a place of wonder and a child-like joy, where the light and colour, silence and peace rain down and let the soul rejoice? Or is it a broody chimera? Depends on your own imagination I suppose?”

 

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In the Light Refracted

Delighted to say I have just SOLD a Giclee print of this painting “In the Light Refracted” via Artfinder – now on it’s way to the USA 🙂

the light refracted

 

“This ‘refractionist’ work sees the light broken down into light filled colour segments. The foreground dark reds are juxtaposed against the light-singed orange and lushy leafy greens to suggest a green distant solace from the scorching heat, with the darker blues suggesting a progressively deepened experience of this respite and solace from the sun’s baking rays. Thus we see a transition from scarlety red via the purply blue path through the burnished, charred-edged oranges and fruity greens to the darker recesses of the oil ink blues like a colour spectrum from hot to cool. Again another use of the refractionist motif. Not only are my paintings often refractionist in terms of e.g. light coming through materials as through tree leaves, shedding light ‘stain glass-like’ but in this case symbolising a progression of temperature and the experience of this variation in heat. The rich boiling bloody reds in the foreground also contrast to the purply blue colours of the path. This spreading of light across these different temperature textures also has a ‘lava lamp’ effect’ as if the oily colours slide across the canvas. The path’s purply blues suggests a transition, a comfortable inviting passage to the cooling shade of the far trees. The far ice cool blue contrasts from the initial, foreground liquidly purples, which in their calm serenity suggest relief from the distress of the exasperated, bad tempered heat.”

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It’s All About Me!

Emma Cownie Exhibition
Me at the Glynn Vivian, Swansea

I was born in Hereford, and educated in Cardiff. I am a professional artist, specializing in oil paintings of the landscapes of Wales and Donegal, Ireland. I have exhibited in various galleries, online galleries, in print and on digital LED screens throughout London, UK.

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I have one of the top best selling artists on Artfinder over the last five years and have sold widely on other online galleries. I have sold hundreds of  pieces of artwork online. I have had hundreds of happy collectors and my artwork hangs in homes across the world and in numerous countries.

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I love light and colour. In my art, I am drawn to light and shadows and how they shape our emotions. I remember visiting the South of France as a teenager and being mesmerized by the dazzling light, I have been attempting to capture that excitement about light in my paintings ever since.

A Gap in the Clouds
A Gap in the Clouds (Gower)

I try and make my colours bold and bright but as realistic as possible. I aim to make people look at the ordinary and see the extraordinary beauty in it.

I offer a personalised approach to art for business and I sell affordable, original and limited edition artworks to companies, such as John Lewis, across the globe.

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Whether you would like a single piece for your office or boardroom, or are looking for larger numbers for a hotel or restaurant chain, I can help provide the right art for you.

The paintings are wrapped securely in bubble wrap and cardboard packaging. All paintings also have a Certificate of Authenticity. Most of my paintings are sold unframed. This is to lower delivery costs. If the paintings have been framed it will be stated. 

 

In my paintings the effect of light is often ‘heightened’ and similar to the sophisticated, precise ‘Pixar’ like animated light. I seek to paint the ‘experience’ of light on colour and form.

Donegal Painting
From Cruit Island, Ireland

To achieve this requires the heightening of the effect of light otherwise light can often be dampened or subdued by the absorbing colours. I am much more interested in how light invigorates, resonates, generates or dare I say it animates colour and form, rather than simply dressing it. This effect is underscored by my use of drawing lines around colours and form, as with the fauvists, and others have suggested this too gives off an animated feel or quality.

Over To The Lighthouse And Pier
Over to the light house and Pier (Mumbles)

I want colour to be the product of being generated, animated by light as if light was the genesis of colour. Thus light creates the colour in a sense rather than colour simply being illuminated by it.

Donegal painting of house on Arranmore

Rusty Roofed House (Arranmore)

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Inner Light

“This is another ‘refractionist’ painting and is almost an inverse of ‘Up Cwmdonkin’. Instead of the refracted light creating a stain glass effect falling on the outside fringes of a wood, here it illuminates within the hidden chamber of a forest, which gives it a heightened, magical or enchanted feel. It feels like a secret wood of childhood fantasy and imagination. I like how the brilliant rainbow colours contrast with the jet black and how the inner sanctum of light is framed naturally by the surrounding trees, inviting one into the shower of light and colour.

But is this scene too good to be true? Is there a Brothers Grimm malevolence here, in this painting? Do the black trees signal a menace, a foreboding or do these encircling trees call one into a place of wonder and a child-like joy, where the light and colour, silence and peace rain down and let the soul rejoice? Or is it a broody chimera? Depends on your own imagination, I suppose!”

Image

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More talk about Art – “In the Light Refracted”

See the original work by clicking here on Artfinder

This abstracted landscape or ‘refractionist’ work sees the light broken down into light filled colour segments or ‘blocks’ to create an almost pre-perceptual  image. The foreground dark reds are juxtaposed against the light-singed orange and lushy leafy greens to suggest a green distant solace from the scorching heat, with the darker blues suggesting a progressively deepened experience of this respite and solace from the sun’s baking rays. Thus we see a transition from scarlety red via the purply blue path through the burnished, charred-edged  oranges and fruity greens to the darker recesses of the oil ink blues like a colour spectrum from hot to cool. Again another use of the refractionist motif. Not only are my paintings often refractionist in terms of e.g. light coming through materials as through tree leaves, shedding light ‘stain glass-like’ but in this case symbolising a progression of temperature and the experience of this variation in heat.   The rich boiling bloody reds in the foreground also contrast to the purply blue colours of the path. This spreading of light across these different temperature textures also has a ‘lava lamp’ effect’ as if the oily colours slide across the canvas. The path’s purply blues suggests a transition, a comfortable inviting passage to the cooling shade of the far trees. The far ice cool blue contrasts from the initial, foreground liquidly purples, which in their calm serenity suggest relief from the distress of the exasperated, bad tempered heat.

 

The top of this painting has echos of Cezanne in it; quite accidently I am sure. My husband is a devotee of Cezanne but I have always failed to see the attraction. While in Paris, my husband dragged me reluctantly to an exhibition of Paul Cezanne’s earlier, transformative work. I was far from impressed I must admit, trying desperately to ‘get into it’ especially as my husband looked almost despairing at my inability to ‘get it’.     Most of the ‘classics’ were missing for a start – we wandered through the actual pictorial representation of years of Cezanne’s attempts to find ‘his style’. This was quite encouraging in the end, to think even the ‘greats’ have to delve and dig to unearth  the technique that most expresses their artist soul.    It was reassuring to realise even Cezanne struggled to find his artistic voice. There is hope for us all. I was quite prepared to leave the gallery with this reassurance that maybe even for me… maybe one day. In the final couple of rooms there was a beginnings of the art ephiphany that my husband must have experienced before. Cezanne was beginning to illustrate how we see, not paint what we see with accuracy. He was almost painting the act of ‘seeing’, the experience of it . The breaking down of light, colour, form into ‘patches’ which then all sort of ‘added’ up to the final image; this was illuminating. Why had I not seen this before?

It was a perception in the making according to my husband, who researches neuroscience and is fascinated by perception, how it is constructed. But here we have a painter, an artist, nearly a hundred years ago showing how perceptions is built, via these  ’patches’ 0f colour and form. He added that these ‘patches’ are more representative of what and how we see than some other painting of something which is dead to the experience of viewing it. A facsimile of the image. Expression thus may not just be about the feeling or experience of seeing something but a representation of how we see it. How could I have been so blind!? Thus I now paint to express how one feels while ‘perceiving’ the movement of the heart that accompanies the taking in through the senses. The exhilaration of seeing and perceiving. The wonder in the everyday, the extraordinary in the ordinary.     Perceiving as a ‘dynamic’ act – an act most ‘vital’ not ‘completed’, finished or done with but being done. Not sunk into canvas  or laden with inertia but  alive , invigorating, changing, in construction, moving.  Not categorised but fluid, still being defined, joyful and light not itemised and final. Not an interpretation but being intrepretated.   Active not passive. Now not then. In the present not past tense. Constantly evolving in the moment. Presently present. Here, now, inaffable. Transcending.  This what I hope to achieve on this long  journey to expressing oneself. To learn how to transport the viewer to the now, to a vaguely remembered, or imagined even, place in the heart.  To the obscurely wonderful feeling of being nowhere else but here.Image