The west coast of Ireland is dotted with islands, big and small but also plenty of sea stacks. Perhaps, they were once sea arches, I am not sure. If they were the crown of the arch fell in to create these majestic pillars. They can be seen from miles away. Even on misty days. This one, Tormore (in the painting above and below) is miles away, near a very remote location called Glenlough Bay. There is something exciting and other worldly and timeless about it.
Rossbeg (sometimes spelt Rosbeg) is a tiny townland on the west coast of Donegal, just three miles south-west of Portnua and Nairn. This is the Dawros Peninsula. There is a pier and a scattering of houses, some are modern, but many are old cottages, probably used as holiday lets.
There is another beach around the corner too.
The beach and the view is just perfect. The water is so very clear that the rocks and seaweed are visible from quite some distance from the shore.
I have decided that perfect is the enemy of good, and I need to give up on the idea that I should write lengthy blogs posts, as I end up writing nothing! So here goes,
One of the many great things about being back in West Donegal is that I can paint much larger paintings as my art studio is much bigger here than in Derry. So I now have two on the go!
These are both painted in acrylic paint. I find it easier to make adjustment in the value/tones in acrylic before I move onto a layer of oil as a final layer. Acrylic can act as a foundation layer for oil, but not the other way around. I had forgotten how physically tiring painting a large painting is. My arms are tired!
The title of this post comes from a 2005 albumby American musician, Robert Rich.
The inspiration for this album comes from mundane everyday experiences that culture usually overlooks, such as footsteps, casual voices and other ordinary sounds. Although I am sort of “New Wave” (that’s sooo old now, you’ll probably have to look it up) in my musical tastes, I have a sneaky liking for experimental music, if its “live”. I like how it encourages you to pay attention to all the sounds around you, instead of tuning them out with your thoughts. Its sort of mediative. The ordinary appeals to me.
The other day I finished one of my paintings, placed on the other side of my studio to inspect and found myself quite-spell bound by it. I could not stop starring at it. This is not always the way I am with my finished work. More often when I have been excited about a painting, finishing it is a bit of an anti-climax. Maybe, it wasn’t quite what I thought it was going to be. All I can see are the errors. The solutions that weren’t quite right, or not as good as they could have been.
So what was this painting that had me transfixed? You’ll probably laugh when you see it. It was a little painting of two blue tits on a branch. Not a spectacular painting, in any sense, I know. I realised, however, that what had me transfixed were the details. This is really geeky stuff. A shadow under one of the bluetits fell onto the branch below in a really pleasing way. It’s hard to show it here.
This is my most recent painting below. I choose to paint this because I liked the juxtaposition of the mountain behind the semi-derelict house.
I didn’t realise at first that the gable end window is boarded up. It could be mistaken for a blind. Maybe it is a roller-blind pulled down.
I think the back door is also boarded up. These things are not immediately apparent. There is a large boulder to the left of the house. There is also a pile of building bricks and a tarpaulin in the yard to the right-hand side and old rope in the drive. This is a house at the start or midway through renovations. The details I really relished painting were the shadows of the chimney, roof and the telegraph wire that dissects the window at neat diagonal. It’s only by paying attention to these details that the Donegal light can be properly conveyed.
I have always had a fascination for the ordinary details that are easily overlooked. I want to convey what a scene looked like at that moment. If you were really paying attention. Yet, I am not a painter who works in the hyper-realist style. I am not skillful or patient enough for that. I often cringe when I see my paintings close up because I think some of my brushwork is crude. Yet, “perfect” representation can seem dead and unlife-like.
I think in the errors, the gaps, our brains fill in the gaps the image can come alive. I like that my paintings aren’t just copies of what I can see but an interpretation; the colours brightened, edges sharpened or softened, some details omitted to make for a simpler composition. Deciding what to leave out or simplify is as important as what you decide to include. Rather like Robert Rich’s “Echo of Small things”
I love Victorian tin chapels. Maybe it’s because a playgroup I went to as a child in Hereford was held in one. I think that one was painted dark green. It was near the racecourse.
This tin building is at the crest of the hill, on Rhyddings Park Road. The corrugated iron is painted cream. It is jammed in by the side of the much larger and grander Argyle and Rhyddings Park Presbyterian Church.
The tin chapel is a friendly and welcoming building. The painted blue door always seems to be open. Playgroups meet here. I often see people with small infants coming and going.
There is a banner hanging above the door advertising “English Corner” for visitors to come and practice their English. This Welsh church has clearly gone out of their way to welcome international students and immigrants. I knew nothing about this community until I looked at their website and discovered that the church has been led by two energetic and thoughtful overseas mission workers, Charles and Molly Chua ,from Singapore for the past 11 years.
English Corner was set up by Charles and Molly after they found two lost Chinese students wondering the streets of Swansea. Charles and Molly took the two students to a Chinese shop and then drove them home. Over a cup of tea, the students pleaded: ‘we need someone to help us with our English!’ So they did something. The church set up weekly English classes on Friday evenings, and “English Corner’ grew rapidly, from 9 to 29 Chinese students in 3 weeks. Now 50-60 students regularly attend. It has since grown to become an international community linked with the Universities and Language Schools in Swansea. This proactive and positive work has had many benefits for the local community, students and new residents as well for the church which has a diverse congregation of Welsh and Chinese, Asians, Europeans and Africans worshipers.
So this unassuming little tin building holds a strong and vibrant community. I like that.
I have a confession to make. The person who does most of the “getting ready” is not me – it’s my husband, Seamas. Yes, I paint the pictures, make sure all the edges are tidied up and my initials are on each painting but he does the fiddly stuff I hate. But he’s the one who helps me decide which paintings to have in the exhibition, he goes to buy the “D” ring hooks from the DIY shop round the corner, when we run out. Or yes, and another 4 balls of string. Then, he patiently sits down and measures the spacing at the back of the paintings, screws in the “D” hooks and then has to arrange the string so that 1) the painting won’t fall off the wall 2) it doesn’t hang too high or too long down from the brass hooks they have in the venue. He also went to the venue to double check how many spaces for paintings there are too. He’ll also help with the hanging on Monday afternoon and delivering the flyers to the local business and homes.
So if you are in Swansea in August please call by and have a cup of coffee in the Brynmill Coffee House – its opposite the entrances of Singleton and Brynmill Park and 5 minutes’ walk from the seafront. The Staff are super nice and the cake is delicious and they have gluten-free versions too. You can enter the draw for a limited edition signed print of “Outside Brynmill Coffee House“. There will be limited edition prints and greeting cards available to buy too. My paintings are a selection of scenes and people of Brynmill as well as some Gower landscapes. Photographs of the paintings in situ will follow soon!
You have may well have seen images of County Sligo, Ireland, without necessarily knowing that’s where it is. It’s home to one of the most poplar views on Social Media. Here’s an example: And many more… It’s quite disconcerting to come across a view that you are very familar with but have never visited […]
I was delighted to see my two Donegal paintings “Up Bloody Foreland, Donegal” and “The through Road, Donegal” on the walls of the London Irish Centre (Camden, London). These two oil paintings form part of a “real room” of an Irish family in 1950s Britain installation. The exhibition, which is on during August through to […]
Donegal is a big mountaneous county in a big country. Imagine my shock when I discover that it’s only the 4th largest in Ireland (after Cork, Galway and Mayo) at 4,860 km2 (1,880 sq miles). It seems even bigger as there is no railway or motorways here, so it takes a long time to travel around all the mountains. One of joys of the county is that it’s relatively empty (the 5th least populated in Ireland) with 32.6 people per km2.
New Work & Recent Sales
Arch at Whiterocks Beach, Portrush
The Peace Bridge (Derry) by Emma Cownie
St Eugenes, Derry City
Polite Houses of Maghery- Emma Cownie
Abanoned (Glentornan, Donegal) -Emma Cownie
Low Tide, Summer Morning on Three Cliffs – Emma Cownie
Boat on Inch Island Donegal
Across Whiterock Beach, Portrush
Dunluce Castle from Whiterocks Beach
Towards Bloody Foreland (Donegal) _ Emma Cownie
Houses at Port na Crin, Gola
Errigal reflection (Donegal) _Emma Cownie
Washing Line, Arranmore _Emma Cownie
An Port, Donegal_Emma Cownie
House on Ishcoo, Donegal-Emma Cownie
Over Glenlough Bay, Donegal-Emma Cownie
Still, On Gola (Donegal)
Inishcoo (To The Fore of Arranmore) – Emma Cownie
Kinnagoe Bay (Inishowen, Dongal)
A Road through Chalford (Cotswolds)
Painswick Yews (Cotswolds)_Emma Cownie
On Rutland Island, Donegal -Emma Cownie
Sun on the Reeds (Glentornan, Donegal)-Emma Cownie
View from the Pier (Portnoo)-Emma Cownie
From Port to Glenlough (Donegal)
Errigal from Cruit Island. Donegal _ Emma Cownie
Spring on THree Cliffs Bay, Gower_Emma Cownie
Fishing Boat at Port Donegal-Emma Cownie
Portnoo Pier, Donegal_Emma Cownie
Down to Rossbeg Pier, Donegal
Over to Fanad Lighhouse (Donegal) _Emma Cownie
Errigal painting – A Commission 2022
From Arranmore (Donegal)- Emma Cownie
Ferry Home (Arranmore, Donegal) by Emma Cownie
Summer Morning on Pobbles Bay
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)