Here is a short series of paintings based on the shadows in a backlane in Swansea. The photographs I used for these paintings were taken a couple of years ago. I came across them in my folder of printed images and decided I wanted revist my “urban minimal” themes. The light in St Thomas is quite different to that in Brynmill, where I am at the moment. I don’t know if its because the sea is closer to this part of Swansea, or because Kilvey Hill has a particular angle of steepness, but on a sunny day the light is luminescent.
I particularly wanted to used a glazing medium called liquin, to see if I could add depth to my shadows. I first did an under-painting using red ochre and sepia and then used the medium to add colour to shadows.
Back Lane, St Thomas (Swansea)(2021)
As I grew in confidence I used more liquin medium to paint the drying washing on the line and shadows on the stone wall.
I think the darker shadows were more successful than the lighter ones.
I particularly enjoyed the contrast between the neat house with its clean, fresh drying washing and the apparent ugliness of the rough breeze-block wall in the backlane. This painting is very hard to photograph because of the very light and very dark colours. Some part of it end up too light or too dark! I think I got about right but I am still not happy with the final image. Just a reminder that you need to see a painting in real life to really appreciate it.
This post has been prompted by the response & comments I got on Instagram when I posted a photo of a painting I had reworked.
I came across this early painting when I was sorting through my crowded attic studio. I had forgotten I had it. It took a while to work out how long ago I painted it. It was 4 years ago! It was part of a series of night-time paintings of Brynmill, Swansea, I did in the course of winter of 2015-6. I later went on to develop a series of daytime paintings in the summer of 2017, which formed by the “Hollowed Community” exhibition as part of the Made in Roath, Cardiff, Arts Festival of that year.
I looked at my painting with my 2019 eyes. Sometimes a period of separation enables you to see the painting the way others do. Often this is a happy experience. Not in this case. I liked the light and the shadows but I thought it was a little untamed. The red brick pub opposite the chip shop, The Ryddings pretty much worked. The sky, however, was a bit too messy for me. I don’t usually rework my paintings but this one was bugging me. I nearly worked beautifully, but it didn’t. So I set about to repainting parts of it. Some window sills also needed straightening. The double yellow lines at the bottom of the painting certainly did. The sky then needed “flattening” to create a calmer and tighter painting. After I had done this, I felt a lot happier with the painting. It still has some of the exuberance of the original but it was more disciplined. It has more presence.
This chip shop has a long history; much longer than I realised. The Park Fish Bar used to have a sign out the front that says it’s Wales’s oldest chip shop (I’ll have to check it see if it’s still there the next time I pass it). It think it said “Since 1977” When I posted a photo of the reworked painting on Instagram Matt (@seamatt79) wrote that it had been a fishmonger or fish shop called “Park View Fisheries” since 1918. Apparently, they sold fish during the day and cooked the fish with chips in the evening. That’s a century of fish and chips in Brynmill. I don’t think there was a centenary celebration last year, which is a shame.
Matt said that he was there in the 1990s the Waterloo Place-side window was replaced (window on the far left of the white building in the painting). An old man who lived in Trafalgar Place came by and told the story of how he helped put the window in as a young boy when during World War Two a German bomb “landed on the corner of Marlborough Road and blew out all the glass”. The corner of Malborough Road is just to the left of the painting. A lot has happened since I painted the original in 2015. Jeff who ran the chip ship since the 1980s had retired and the shop has had two different managers since then.
I was also asked on Instagram by James Potter, another Swansea artist, what the original painting looked like. There are some things you just can’t explain properly on Instagram, so here it is on my WordPress blog!
Happy Christmas to all my fellow bloggers, followers, and readers alike!
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 […]
This is the second part of my expanded Q & A interview with Niall McMonagle of the Sunday Independent. Read part one here This section is more about how I work, my style and influences. Q: How do you choose your places to paint? And is there a particular time of year that […]
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 […]
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)