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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
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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.

 

 

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Summer daydreams in the dark winter.

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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.

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

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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.

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Snow Remnant
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My favourite female artists: Part 1

The famous ones

I started this list as a challenge to myself really.  I began thinking about women artists and was shocked that I got as far as Tracey Enim and then my mind just went blank. I looked up a few more names on google and added a few more to the list: Jenny Saville, Yayoi Kusama, Brigette Riley and Maggi Hambling. They were important and interesting but I couldn’t honestly say they particularly influenced my work although I love the colours that Riley and Kusama use in their pieces.

I do really like the work of Rachel Whiteread who makes massive casts of the interiors of buildings and other unexpected objects like hot water bottles. She would have been part of Swansea’s UK City of Culture events in 2021.

Then I looked at my pinterest account and realised that it was jammed packed with contemporary female painters. Some I just like and others that inspire me. They are not especially famous but I thought I’d share their names and examples of their work.

The Americans 

Jennifer Pochinski 

Pochinski has a wonderful fluid style. Such energy and confidence to leave so much undefined.e0de9842bcd45ce83115f1405aaff9f2.jpg

Carole Marine 

I love her use of colour and light colour. Since October 5th, 2006, she has been creating one small painting almost every day.

Peggi Kroll Roberts

Again wonderful colours and impressionistic looseness of style that I find very appealing.

Jessica Brilli

A much tighter “stylised” form of painting but that same use of strong colours and emphasis on sunshine.

 

Leah Giberson

Again strong colurs, sunshine and an interest in mid-century buildings.

She also does a lot of paintings of Airstream trailers but I don’t care so much for those paintings. Although they are technically excellent, I find them less interesting as subject matter.

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So, I think you can see that I am somewhat obsessed with sunshine and colour! I will also write a blog on living British female artists that I like.

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Twilight

Dusk on Kemble Street
Dusk on Kemble Street 24x30cm

Twilight is one of those words that sounds like a contraction of two longer words – like fortnight used to be “fourteen nights” or Goodbye used to be “God be with you”. The word has Dutch and Germanic origins. It was first used in England in the 14th century and probably is a contraction of “Tween” and “Light”- meaning light between, or half light. In Welsh, “cyfnos” means dusk, twilight but  “gwyll” also refers to  dusk, gloom, twilight. There is a very good Welsh language crime drama (Welsh Noir as they call it) called “Y Gwyll” (Dusk). There is an English language version (same actors, and storries but dialogue in English) but they changed the title to “Hinterland“. I much prefer the Welsh language version (click on the link to watch a clip here with English subtitles). Dusk suits the brooding nature of the landscape and the story lines much better, I think.

Dusk is a strange part of the day. It does not last long. It happens in the morning as well as the evening but it’s twilight in the evening I particularly love, especially in winter. The sky rapidly slips from light blue to a wonderful mauve before becoming darkest blue of night. The strange soft mauve glowing light is caused by the sun even after it has dipped below the horizon, as the sun’s rays are reflected from the atmosphere. A few minutes pass and lights are switched on indoors against the fading light but curtains have not yet been universally against the cold winter night. Just like Dylan Thomas’s “starless and bible-black” night in Under Milk Wood.

Evening on Brynmill Ave
Evening on Brynmill Avenue 48 x 38 cm

 

 

 

 

 

 

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Post Exhibition Blues

Bored Cat
Hmmm….

Well, I knew it was coming. After several months’ worth of focused activity on painting and preparing for my madeinroath festival exhibition, its’s all over. The paintings are back on the wall in our front room.  They are lucky, this house is so full of paintings the majority never find a space to hang on the wall but spend their time propped up on shelf. I knew it was coming. This feeling of “what now”? I really enjoyed having a project to work towards, writing a bulb for my catalogue and blogging about the process.

Now, I am feeling down and a bit at a loose end. Its rather a lot like like that uncomfortable feeling you used to get as kid three quarters through the long summer holiday. You’d run around and played with your friends/siblings but now it was overcast or even raining. Entertaining yourself seemed to take more effort, all of a sudden. It was called boredom. I learnt that it was no use asking my mother for suggestion as to what to do (for some reason her answers always seemed to involve housework).

I just had to sit with it until an idea came to me. It was usually something creative. I wrote a lot of poetry and descriptive pieces. I once even wrote a play about a fine art heist one finger at a time on a manual type writer. How I loved the “clack, clack” of the keys hitting the ribbon. I was living the dream! I was a writer! I was writing nonsense but enjoying doing it. I drew and coloured and painted. My bedroom. The cat when she was asleep. The view outside the window.

Boredom wasn’t a feeling I got to experience much as an adult. Stress was more normal.  As secondary school teacher as it was usually subsumed into exhaustion. I loved teaching but the work-load was crushing. Summer holidays were increasingly about sleep and recovery.  I don’t know whether kids experience it much now as they have smart phones to hand.

Yes, its a lot like boredom. Maybe this isn’t boredom but its rather a lot like that bit before you think of what to do next. Funny thing is, I am still painting but not sure if I am going to continue in the same vein. I am definitely in a painterly “groove” and I loath to pull myself out it just yet.  I have a few ideas knocked around the back of my head …  I think that creativity as all about trying things. Some of them work and some don’t. It doesn’t matter. It’s all process. The point is to try stuff and develop the stuff that you feel “works”.

Bored
Bored or thinking?
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We need more painted houses

Elm Street
Elm Street, Cardiff

I hate pebble dash. It is boring and beige. Wales has far too many pebble-dashed houses.  If are not familiar with the phenomenon its a “coarse plaster surface used on outside walls that consists of lime and sometimes cement mixed with sand, small gravel, and often pebbles”. Its a way of tarting up the outside of a house. I guess its cheaper than having the bricks re-pointed because it seems to stay that horrible porridge colour for ever. Welsh terraces in the towns and valleys are full of these dull fronted houses. I much prefer red brick. Or painted. Many of my houses for the “Hollowed Community” exhibition were red brick or painted interesting colours.

In Ireland it seems that all the Victorian terrace houses and cottages are painted in bright colours. (See photos of Cobh Harbour above )

Having a brightly painted house is a gift to the community. It does not matter if your house is a grand detached house with a sea view or a humble terrace, it is cheering to behold. When a whole street does it, it becomes a cause for celebration and art!

The Yellow House
The Yellow House (Swansea)

 

The Purple House
The Purple House (Cardiff)

 

 

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Fall, Bay?

Fall Bay, Gower.

Before our visit to Fall Bay, Gower, I’d read online that it was “one of the hardest bays to reach on the Gower Peninsula”.

My curiosity was piqued. The walk from old Great Pitton Farm, to Mewslade seemed easy enough. The coastal path climbed up past Jacky’s Tor, Devil Truck and Lewes Castle until it reached Fall Bay. Not so difficult, I thought. That was until I attempted the climb down to the beach!

The beaches at Brandy Cove and Great Tor Bay also require you to clamber down some limestone rocks before you reach the sandy beach. This path, however, was much more difficult to navigate, though. The way became very narrow and I had to wait several minutes to let two energetic families come past. Still, I have this idea that one must suffer to some degree in the creation of your art so I carried on. As I started my climb down, the “path” became much tighter and steeper as the way down twisted and the rocks were worryingly smooth. The final descent was very difficult, made much more treacherous by slippery rocks. I was amazed that I didn’t twist my ankle! So no wonder, the “beach is never crowded”.

The day had become overcast by the time we reached the beach. Tears Point rises above the beach at the west end. Worm’s Head and Rhossili, is just round the corner, but out of view. The grey light meant that the waves looked greener and the cliffs more red/orange. I was drawn to painting the light through the breaking waves, where the sand and sky is reflected in the narrow part of the wave. I also loved the chunkiness of the cliff where it meets the sand and how the surf swirled around it. I got my feet and trousers wet more than once!

Thankfully, it was much easier to climb back up the path than it was coming down.

Fall Bay Rocks, Gower
Waves at Fall Bay, Gower

© Emma Cownie Art