I am delighted to announce that I have made Jacksons Art’s extended long list for their 2024 Art Prize. The list was announced on 14th but as I didnt get an email from Jacksons, I assumed I hadn’t made the cut. So imagine my delight when I find a “Congratulations” email that isn’t telling me I have won a load of bitcoin has arrvived in my inbox.
It reads “With 12,964 entries submitted, from 129 countries, the selection process was incredibly competitive. As an artist on the Extended Longlist of 3,168 works, you are in the top 25% of entries. The full list is available to view here. ” I am on page 5 if you want to look.
Carn (Donegal) – Bridge Street in Carndonagh, Donegal
Update
The excitement only lasted a morning. Turns out that my email provider had hidden the “Congratulations” in a folder it calls “Promotions” which is mostly emails from Art suppliers. It had been there for a week before I spotted it. Strange how I had no problems seeing the “Thank you for Taking Part” email yesterday afternoon. Oh, well.
I am delighted and honoured to have been interviewed by Aaron S (@aaronsehmar on Instagram) for his Flying Fruit Bowl podcast. If you haven’t come across his podcast and website check it out – he’s a thoughtful and insightful interviewer who is a very talented photographer in his own right. He’s interviewed a diverse range of talented artists. There is a lots to discover. It’s like a breath of fresh air.
This is going to be short. I am snatching a few minutes whilst the puppy sleeps.
Long story short; our beloved Biddy, who has been with us for 15 years had to be put to sleep. In our grief we made a truly daft decision and immediately got a puppy AND moved house in winter. My mother said it was compliment to Biddy that we wanted another dog straight away. I think she was being kind, but she does love animals so maybe not.
So enter Effie. Or the “Scruffy One” as my husband called her as we watched her and her sister (our choice of two) cavort around the farmer’s yard with great energy. This was the one my husband picked.
She was covered in mud (poop) and slightly pink from blood. Her litter-mates picked on her. The farmer said ‘I think she will be the kinder dog”. Kind means gentle in this part of County Derry. Yes we picked the underdog.
Effie was born in a barn
So we took home a mucky pup and gave her a shower. She has dealt with the transition to indoor life with three cats very well. We, the humans have found it a tougher transition.
First night in a big basket
There is a lot to learn with collies. They are not like other dogs. They are super smart but also very sensitive. We are exhausted from trying to keep up and understand her. I have been doing a lot od reading. I find Barbara Skyes’ books on Border Collies really helpful. We still haven’t quite finished moving house!
We think Artie has had experience with collies before
She is pretty much house-trained after 3 weeks (probably slow for a collie) but needs to be made to chill out and nap several times in the day or she gets fractious and grumpy at night. Every morning is a new start even if she went to bed sulking with us, and greets us both with a kiss (lick on the ear) and chest (to gently rub).
Nellie and Flossie with Effie
And the red squirrels? We saw two this week. For the first time in my life. They are very rare in Britain. They are more common in Ireland but shy. We saw two on Inch Island when we were out exercising Effie.
My favourite image of her – asleep!
She has to be exercises away from other dogs and grass until we’ll after her second vaccination. We saw them scampering across a lane from a wooded area. They are very different from their grey American cousins. They are smaller, delicate with russet red coats and tuffed ears. When they run their bodies and tails undulate in an elegant way. The second time I saw one I could see it had a white chest. It was fleeting sighting so I don’t gave a photo but I can offer a couple of paintings I did many years ago.
Times up. Effie stirs.
Red Squirrel – oil on canvasRed Squirrel in the Snow -oil on canvasRed Squirrels (from Pixabay)
It’s not until you film yourself painting that you realise just how long a painting takes. I *know* how long they take, usually several days, sometimes longer. Actually seeing the process makes you realise how painstaking and slow the whole process is. Its taken me a while how to work out how to do a timelapse film and its a joy to see the work “fly” along. This is how it feels to me as I am painting (when its going well). Of course, a film can’t capture all the standing back, breaks to change the water, to clean the palette, or just to *look* at the painting. That is a dedicated painting shirt, by the way. There’s a lot of paint on the front of it.
Nellie had been lying on the bed whilst I was painting and came over when I put the palette down. Flossie and Nellie have always taken a great interest in my painting. So much so that I have been reduced to using a small camping stool as they insisted on walking along the back of the chair I used. My water is in a small jam jar with a scew-on lid as Nellie frequently tries to drink the (probably toxic) paint water if I leave it unattended. The palette also has a lid to help keep it damp and keep playful paws away from the paint. They are a large part of the reason I paint in water-based acrylic paints these days instead of oils.
Here is the painting that finished me off. Now I look at it after a month, I am not sure why. I just felt like I had run into the sand and needed a change. I had been doing a lot of reading about composition but I suspect it had more to do with taking too long to paint. Acrylic paint often requires several layers to achieve the opacity of oil paint. I was getting bored and tired and I wanted to try something new. A change is a good as a rest.
Toralaydan Island, West Donegal
So I took a month off posting new work on facebook & instagram, to give myself head space. Some artists love being filmed live and showing their “process” – I am not like that. I get very self conscious and often will immediately screw up a painting if I take photos too early in its development. It’s one of the reasons I cannot bear to paint outside “en plein air” – people understandably want to see what you are painting and that makes me feel very self-conscious. I really dont know how people go on TV shows like “Landscape Artist of the Year” and produce really good paintings, or half-way decent paintings at all, in fact. They must have nerves of steel. I don’t. In fact, I know that many of my paintings can go through stages of looking quite rubbish before they (almost always) emerge butterfly-like from the murk and layers. It’s a lovely (and sadly rare) experience when a painting look interesting/beautiful all they way through the process of coming into being.
I had bought some tubes of Acrylic Gouache in the spring but had not got around to trying them out. Now I opened that box of paints and gave them my full attention. I had been looking for a water-based paint, to reduce the risk to my pets, especially my young inqusitive cats. I had had oil paint/white-spirit incidents with pets in the past when we had a lot more space and I did not want to take that risk now. I also wanted opaque paint. I had discovered that some American artists, whose work I liked, used Nova acrylics which is pretty opaque but they did not have a UK stockist. I was cautious about importing paints from the US as I once ordered a load of paint from a sale from JerrysArtsarama only to get stung by customs and VAT charges. So any saving I had made in the sale were wiped out! I also considered Golden SO FLAT matte acrylic paint but I am not a great fan of Golden colours. Dont get me wrong, some of their acrylic colours are great (light ultramarine for example) and I know many artists rave about them, but I don’t LOVE them. They were also sold in a jar rather than a tube, and I could just see me absent-mindedly sticking my dirty paint brush in a jar and mucking up the colour. I prefer tubes that I can squeeze a tiny bit of paint out onto my wet palette and keep my colours clean.
Not the set I bought – I wish!
I saw that Jacksons Art stocked Turner Acryl from Japan. I watched a couple of videos comparing different makes of Acrylic Gouache and liked the vibrancy of Turner’s paint. There is not a lot of information about acrylic gouache, unlike regular acrylic (I have several books on the technical aspects of using this acrylic). I keep reading the same thing – its a cross between gouache and acrylic. Gouache is a water-based paint which can be opaque (unlike water colours which are usually transculent) and it can be reactivated with water. Acrylic gouache, however, once dry, sets like acrylic and cannot be reactivated with water. It dries pretty quickly too. It dries to a smooth velvety matt finish too. It is used by illustrators, especially anime.
An example of anime art from Instagram from @happy.artistry
Look at the lovely rich colours!
The colours are lovely but I have a lot to learn. There are so many wonderful rich colours and I can see why these [paints are popular with illustrators. Unlike acrylics or gouache, there is little to no colour shift. It is non-toxic. It does not dry lighter or darker. I am finding this hard to get used too. I am overcautious about laying down darker colours. I have to learn this again and again. I often dont make my paintings dark enough as I am afraid the strong colour of the tarmac road will overwelm the painting. I have to repaint the shadows.
I feel out of control with it at times. Sometimes that is exciting, others just scary.
Winter Morning on Academy Road, Derry – Acrylic Gouache on wood Panel 2024 – An early effort
I painted a load of duff pieces before I started to feel I was getting somewhere with “Ardara”.
Ardara – Acrylic Gouache on Wood Panel 2024 – Another early effort
I felt that a new medium required new subject matter to set it apart from the rural scenes I had focused on since moving to Ireland in 2021. My work had previously described by Niall McMonagle in the Irish Independent as a “Clear bright glimpse of a vanishing Ireland”. I wanted to mix things up and paint a more contemporary version of everyday Irish life.
This meant scenes with cars. The Irish love their cars. I have painted cars in the past but not for a very long time. It was usually at night or in the rain (at night) so you could not really see them properly.
My Pop Art – The Driving Rain (SOLD) Oil on Linen Canvas, 2015
Coming out of Shell, Oil on Linen canvas (SOLD) 2020
It was in 2017 that I decided to pursue “Urban Minimalism” for my “Hollowed community” project for the MadeinRoath festival in Cardiff. For a long time, I have sought out empty scenes with no cars or people. It found it cleansing. The Morris Minor (below) was one of few exception to this. This vintage car was parked around the corner from our home in Brynmill. I used to hear the owner drive past our house on the way to the paper shop every morning.
Urban Minimal style – Morris Minor 2018 Oil on Linen Canvas (SOLD)
Now I decided on a volte face and to seek out street scenes with cars to challenge myself. Car are difficult to paint. I know some people will disagree with me, but in themsleves, they are not intrinsically beautiful, although the light reflected on their surfaces can be. I am more a fan of vintage cars like the Morris Minor and old-style minis (genuinely small cars) and enjoy the colours used by Italian manufacturers such as Fiat 500s. Too many cars in Ireland are black or grey. They don’t make for interesting compositions. Surprisingly, Lorries do. In the right place.
Deliveries on Queen Street, Derry – Acrylic Gouache on wood panel 2024
I wanted to paint with speed. I was bored of spending days or even weeks on a large painting. I wanted to work fast keep things fresh. I tried hard to resist overpainting. I left wobbly lines where possible so as to convey some of the energy of the urban areas.
Derry is a very lively city. I also wanted to explore town/city life on both sides of the border in Donegal and Derry, in Northern Ireland. The building stock is very different depending on which side of the border you are. The number plates maybe different but the cars are pretty similar.
Bogside, Derry – Acrylic Gouache on wood panel 2024
Light and shadows continue to be a theme in my work.
Carn (Donegal) – Acrylic Gouache on wood panel 2024
I have found this both challenging and exciting. I have produced quite a few paintings that didn’t work, especially at the start but I just pushed on. I knew that there would be a lot of wastage at the start. The only way I would get the hang of this medium was by painting a lot. I learn through my hands, mixing the paint and then placing the paint on the board. I have not yet achieved the consistency in my work I am used to with oils and acrylics.
I also had to deal with the fear that people might not like this style of paintings or the subject matter. That’s why I had to stay off social media until I felt like I knew what I was doing (sort of). I have shifted styles and subject matter before. There are themes I have focused on before and I am revisiting them. Others are constant – shadow and light. Strong dynamic compositions are also important.
I used to alternate larger landscapes with smaller people/animal paintings. This way I kept my interest in what I was painting. But I seem to get stuck painting landscapes when I came to Ireland. I am not sure it was good for me as an artist. I need to mix things up to keep them fresh. I don’t know where I am going with this but I feel I need to persue this trail for a while longer. I just have to keep going to see where I end up.
This is a postscript to my post earlier this month about Malin Head. It was a beautiful sunny day there today. Summer has arrived in Donegal. Who know how long it will last so everyone was out!
I met brothers Harry and Kit (Dr) Lawrence just after they had laboured up the steep hill to Malin Head Tower on their bikes, laughing as they finished.
“We have just finished a thousand km cycle ride from Mizen Head!” Annouced Harry to no one in particular and anyone who could hear.
“Congratulations” we said and I shook their hands (me and some motorcyclist tourists).
The brothers had taken just 8 days to ride from Mizen Head in Cork to Malin Head today. I told them about Sophie Powers who had done it in 4 days with very little sleep. They had had sleep and no back up team. Just two panniers with their spare clothes in. They were not expert cyclists. Kit proudly told me that he’d bought his bike on Gumtree for £100 last month. It was clearly a massive bargain as it did the job very well indeed. They raised over £2000 for the Samaritans. I couldn’t have done that in 80 days never mind 8 days! Well done!
Just arrived at Malin Head
Harry and Kit Lawrence at Malin Head with that bargain bike
I have been suffering from writer’s block. I started this post in March this year. I keep writing, rewriting it and then not publishing it. The problem isn’t that I don’t have any thing to say. It is more that I have too much to say and I didn’t know where to start or how to structure what I want to say. It’s not about paint but thread and wool. I have been on a bit of an artist’s journey. It’s been quite a meander; off my usual painting path. I am not sure if it’s a dead end, another fad.
Sewing materials – wool and floss – such lovely colours!
I discovered that here In the north of ireland it doesn’t start to get light here until after 9 am in the deepest winter and painting light often “goes” by 1 or 2pm. There wasn’t going to be a lot of time for painting. So I decided I needed another creative outlet to persue along side the painting to do in the hours of gloomy light and nights, under artifical light. I thought about sewing.
A certain photo haunted me. I had taken it back in Swansea before we moved over to Ireland. I was going through the exhausting process of sorting through my stuff and deciding what I could keep and what should go. I came across this moth-eaten piece of fabric. It was a piece I made in junior school. I took a photo of it. It’s not well made at all but I liked its carefree style and slightly chaotic composition. The moths had made quite a meal of it. .Those elephants once all had eyes. I enjoyed the bold colours It got me thinking. Embroidery/sewing was something creative I could do under artificlal light.
An Early Cownie Tapestry
So I gave up trying to paint under artifical light in the mornings and evenings. Instead I took up sewing and embroidery. I have always liked the vibrant colours of embroidery floss. However, I found that it occupied my thoughts a lot of the time so much so that it was difficult to concentrate on my day time painting. I suppose the issue was that although I enoyed the action of sewing, I didn’t quite know in which direction to go with what I doing with it. It was slow and time-consuming and what I produced was small-scale. I was also torn between learning and practicing different stitches and what to do with them. Quite possibly this is an conundrum at the heart of all creative endeavours.
That delicate balance between skill and expression. If I make something without much skill it will just be crude and amateurish? If I make something that it is skillful – it may well have less personality and expression. And for that matter, as an artist, how do I feel about possibly straying into the world of “craft”? A world that is largely populated by women and with less status than art?
But what’s the difference between Art and Craft anyway? Good question. Like all lazy writers I looked it up on Google: ” Art is described as an unstructured and open-ended form of work; that expresses emotions, feelings, and vision. Craft denotes a form of work, involving the creation of physical objects, by the use of hands and brain. Art relies on artistic merit whereas craft is based on learned skills and technique.” So I was onto something. If I get too skillful at embroidery I am in danger of verring off into the world of craft. That’s worth bearing in mind although there’s little danger of me becoming too skillful.
Intially I lacked confidence, I collected images in a scrap book and on Pinterest and my early pieces aped people whose work I liked. I spent the winter admiring the work of many textile artists – the ones that come to mind right now are Sue Stone, Mandy Pattullo, Ann Smith (Persimonstudioart) as well as Japanese applique artists Mika Harasa and the incredible Ayako Miyawaki.
Stitch Portrait of Seamas
I was like a child in a sweet shop, verring off in first one direction than another. First I tried to copy the style of Sue Stone for a stitch portrait. I discovered that stitching a face is very much like drawing or painting a face, tiny details matter.
Then a bird inspired by the work of Mandy Pattullo and Ann Smith.
Embroidery bird on a cushion
I wasn’t particularly happying copying other people’s style but I had to start somewhere. I couldn’t decide. The choice was bewildering. Was it line, colour, texture that I liked? Yes, yes, yes. I liked it all! I then tried freestyle style stitching in the hope that it would express my personal style. well, no. It got too chaotic. I enjoyed the mechanical action of sewing by hand. I tried dry felting and although my husband liked the chaos, I didn’t.
Freetyle Stitching
Dry Felting – House on Arranmore, Donegal
I wan’t sure if all this was coming from me or was just a mish mash of other people’s work. I needed a greater sense of control over what I was doing. I had to pause. I decided to rein it all in and try simple stitches again although I often prefered the messy underside of the work. Why is that?
The “wrong side” of the sparrow embroidery
I tried to explore the texture of birds feathers a little more.
Embroidery Robin – unfinished
Finally, I came around to a way of working that seemed to be a decent expression of my work in paint. I started getting where I wanted to go. The ancient and humble chain stitch. Turns out that the chain stitch is one the oldest and most widely known stitches in existence. Examples have been found in Egypt on textiles from Tutankhamun’s tomb, dated to the 14th century BC; on embroideries found in Pazyryk tombs dating from 4th-3rd century BC (excavated in southern Siberia but probably originating in China). I enjoyed it’s texture and it’s ability to fill space with colour.
I started with a semiabstract flower design based on a painting I had done many years ago.
Then I decided to try some Irish scenes. that I had painted. These satisfied me the most.
House on Inishbofin – Emma Cownie
Painting and Embroidery “House on Inishbofin” – Emma Cownie
Chain Stitch Embroidery – House on Gola
Me stitching – observed by my loyal helper cat, Tiffany. Embroidery travels well but pointy scissors and planes dont mix. I had my snippers conviscated!.
The work is maddenly slow but strangely therapeutic. There is something very compulsive about filling the space with colourful stitches. I enjoy running my fingers over the stitches. It also mad me think about what could be simplified into an embroidery an what sort of details could and could not be rendered in chain stitches. Getting the right colour thread was difficult at times. I made mistakes – a brown shadow rather than a bluish one. I tried to be accurate but somes I was forced to compromise, sometimes I just got it wong.
So now I have a small collection of tapestries very fond of in an in formal display in my living room. it’s been an interesting journey but I am not sure if its a cul-de-sac or “Grist-to-the-mill” part of a creative process. Maybe the reall problem is that I discovered that it was difficult to sew by hand under artifical light and the embroidery was competing with painting for useable daylight. It was a joy to return to speedy paint when the light improved. So, embroidery has drifted off into a bit of a back-water for the time being although I still have a couple of projects on the go.
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 October, pulls together a dynamic collection of prints, photographs, paintings, and writings that weave together the different threads of ‘Home’ for Irish Immigrants to London. This has been organised Tara Griffin, who is Education and Heritage Officer at the London Irish Centre, in conjunction with the Museum of the Home. It looks fascinating and I hope my paintings bought happy reminders of home to visitors to the centre. My work has been described as nostalgic by by some and I am interested in capturing a vanishing Ireland of the not too distant past. I just wish I could have visited in person!
There’s a good reason why landscape painters use the “landscape” orientation for their canvases – i.e. the longest side is horizontal – and that’s because you can fit more landscape in that way. I have recently discovered another good reason – social media and wordpress thumbnails don’t like tall narrow paintings and will automatically crop them. This one-size fits all is especially irritating in the case of my most recent painting below, as the thumbnail cuts out the focus of the painting – Con Herron’s farm at the foot of the massive hill – Scraigs, which is part of the Bluestack Mountain range in Donegal.
So looking at the thumbnail you just see the top of the mountain! I am pretty sure than no one will be clicking on that to see the full size image. It’s no better on pinterest!
Top of the moutain – Thumbnail
So I have had to play around and put the image on a backing to widen it.
Scraigs, Fintown – extra background added on Canva.com
I also use mock up software (from Canvy.com) to get a sense of the scale of the painting.
Mock up from Canvy.com
Another Mock up from Canvy.com
Map of Scraigs and Bluestacks – ignore the red route. Fintown is at the top of the map.
I often look at the rocky tops of the mountains and hills in Donegal and wonder how often, if ever, they are climbed by people. The farmers in the past must have been incredibly fit (modern day ones surely use quad bikes) as I am often surprise to see fencing winding its way over the top of these craigs. I look up the Scraigs on the internet and find that it features on a website called “Mudsandroutes.com” with a summit map but no one has yet written a review of their climb. So I suppose intrepid climbers must ascended that craggy summit but probably not from this angle! There seems to be an easier route from the western side.
Herron’s Farm, Fintown Donegal-Emma Cownie
If you ever get the chance to read the “Tales from the Bluestacks” or “The Hills: More Stories from the Bluestacks” a collection of short stories published in the 1980s by American academic-turned sheep farmer Robert Bernen, they are well worth the effort. He and his wife lived in the Croaghs in the 1970s. I grew up in the 1970s and 1980s so it doesn’t seem so long ago to me but his stories, such as the coming of motor vehicles and later on electricity to the area, reveal a way of life that has now pretty much vanished. I like to think that 92 year old Con Herron, whose farm lies that the bottom of my painting, was part of that world.
Read Irish Times article on Robert Bernen and farming life in the Blustacks here – worth it for the photgraphs of the interiors of the irish houses alone!
