My grandfather, Fred Cownie, used to work for the forestry commission, buying up Welsh farmland and planting swaths of conifer forests. Sadly, I never knew my grandfather as he died before I was born, long before my parents were married, in fact. Apparently, he was a sociable man who was popular with the farmers and forestry workers alike and I like to think he enjoyed his work talking and with people and tramping across the Welsh landscape. Sounds like a great job working with trees and people, not stuck in an office.
I love trees. My favourite trees are the elegant beech trees, with their copper autumn leaves. I also love the scotch pines that pepper the Gower peninsula. There’s a woodland at Whiteford point and also near Parkmill, which I have returned to time and again to paint.
Scotch pines are the only truly native pines to the UK. They spread across the British Isles after the last ice age but in Wales, the trees became extinct about 300–400 years ago, due to over-exploitation and grazing. I don’t know when they were re-introduced on Gower but this section of woodlands was almost certainly planted by a local landowner, possibly the owners of nearby Kilvrough Manor. Amazingly, mature trees grow to 35m and can live for up to 700 years!
We walked the dogs here last week and took photos. I like this section of woodland as the pine needles on the ground deaden footsteps and although birdsong can be heard, it seems quieter than the surrounding beech wood. Much of the wood falls into the shadow of a the valley side and direct light does not hit the trees until late morning in the winter.
When the light hits the trees it illuminates their scaly orange-brown bark. This bark develops plates and fissures with age. The twigs are green-brown and pretty much hairless until you reach the highest parts of the tree, 20 to 30 metres high. I love to stand looking up at the tops of the trees, swaying with the wind. On the ground the tree trunks appear stock still. I like to think its a good analogy for life, you have to bend with the wind.
The great thing about Scotch Pines is that they are so quiet and light, unlike conifers forests which can be pretty dark.
The sun went in so whilst I was waiting for it to reappear I filmed this 360 degree shot, I tried to pan very slowly but I don’t think I was slowly enough! There is a stream nearby that has dried up from lack of rain over the summer. It sounds daft but when I am out walking I often ponder their stoic nature. They can’t move, they have to accept where they are in the wood. Some people believe that they communicate with each other through their roots. I’m not sure what my grandfather, Fred, would have made of that!
You can but limited edition mounted prints of Gower woodland here
This is the first woodland painting I have done for quite a while. This is a section of pine woods called Canisland Woods, near Ilston and Parkmill, Gower. The slender light refers to the beam of morning sunshine light breaking over the lip of the valley. The pine needles on the ground are soft and deaden any sound. It is a very peaceful section of woodlands.
As an artist, I am always looking how to simplify shapes/colours so that there is an semi-abstract element to them but never losing touch with realism. This is particularly true of my woodland paintings. Although I am working from photographs, I am not copying them but rather deconstructing (in my mind) and then slow reconstructing them (on the canvas). They are like a giant jigsaw puzzle.
It’s painful and I find the mid stage of these paintings a bit distressing until I have faith that it will come together and make a pleasing painting. Some paintings are easy and there is little struggle. Sometimes, the struggle will last a couple of days. I have to ignore the voice in my head that says, “it’s rubbish” and “you are wasting your time”. Thankfully, the negative voice is usually proved wrong.
With all of my paintings, I like to pursue a theme over several paintings so that I get into a “groove”. I feel that I am now in the groove with “Slender Light”.
See “Slender Light” and other available landscape paintings here
After working on my New York interior, I felt ready to return to the theme of rocky coasts. I was revisiting Mewslade Bay again, but a more panoramic composition with the tide coming in. My previous painting had been all about majesty and rocks but this one was different, it was more about colour and light. In particular I wanted to revisit some of the shadows that I’d found hard work in my previous painting and find out if I had left the “difficult bits” too long and whether I should have tackled them sooner.
Unfortunately, this painting fell into place a lot quicker than I expected and I only remembered to take a work-in-progress photos after I’d “solved” the rocks. I think that the addition of the grassy promontory, called “Devil’s Truck”, helped add a lot of interest and colour to the composition. It draws the eye to the left of the painting and away from the less interesting (in my opinion) shadowed part of the cliff in the centre. In the early stage of the painting, the foot of Jacky’s Tor (the peak on the right of the painting), is too light but I will adjust that later.
I paint the sand/reflection that will be partially covered by an incoming wave. I leave it to dry over night.
I darken the foot of Jacky’s Tor. I am a bit nervous about painting the incoming sea but my artist husband just advises me not too “think” about it but just paint it. He’s right and I consciously shut off my critical voice (or is that the left hand side of the brain) and get on with it.
I complete the sky. It passes the view-from-the-other-side-of-the-room test. I am pleased with it. It is less monumental than my previous Mewslade painting of Jacky’s Tor but I like its colourful energy. The warmth of the beach brings a lot of elements of the painting together.
To see original artwork for sale click here
For large mounted prints click here or regular sized mounted prints here
I am very excited to have an article in today’s Irish Independent on Sunday about me and work by Niall McMonagle. Below is my expanded Q & A interview that was much edited to feature in Niall McMonagle’s What Lies Beneath feature . It’s interesting to see that the online version had a different […]
I am delighted to have another of my painting adapted for a novel cover by an Irish writer. This time my painting “Cottage on Bunbeg Harbour” (2019) has been used for the Spanish translation of Donal Ryan’s “Strange Flowers” or rather “Flores Extrañas”. I have started reading the original and I am thoroughly enjoying it. […]
In my last post I decribed visiting the abandoned fishing village of An Port tucked away in a remote corner of the Donegal shoreline (read it here). We were inspired to seek out this very remote spot by American artist Rockwell Kent, who visited and painted the area in the 1920s. I was waiting for […]
An Port has loomed large in my imagination for a long time. It’s very remote and quite difficult to get to. To reach it, you have to drive down a very, very long single track road (it’s about three miles but it feels longer) on the way to Glencolmcille. There are plenty of sheep and […]
New Work & Recent Sales
Washing Line, Arranmore _Emma Cownie
Inishcoo (To The Fore of Arranmore) – Emma Cownie
Kinnagoe Bay (Inishowen, Dongal)
Over Glenlough Bay, Donegal-Emma Cownie
Still, On Gola (Donegal)
An Port, Donegal_Emma Cownie
House on Ishcoo, Donegal-Emma Cownie
On Rutland Island, Donegal -Emma Cownie
Spring on THree Cliffs Bay, Gower_Emma Cownie
Sun on the Reeds (Glentornan, Donegal)-Emma Cownie
View from the Pier (Portnoo)-Emma Cownie
From Port to Glenlough (Donegal)
Fishing Boat at Port Donegal-Emma Cownie
Portnoo Pier, Donegal_Emma Cownie
Down to Rossbeg Pier, Donegal
Errigal reflection (Donegal) _Emma Cownie
Errigal from Cruit Island. Donegal _ Emma Cownie
Over to Fanad Lighhouse (Donegal) _Emma Cownie
Errigal painting – A Commission 2022
From Arranmore (Donegal)- Emma Cownie
Abanoned (Glentornan, 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)