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Christmas at Clyne

Emma Cownie Art stall Swansea
Emma Cownie Art stall Swansea
Emma Cownie Art at Clyne Christmas Market

Once-upon-a-time I worked full time as a teacher in school of just under 2,000 pupils and I would teach approximately 150 pupils in a day. That’s a lot of faces to put names to every day. I was pretty good at learning all those names too. These days, however, I might only speak to a handful of people in a day; my husband, my neighbour and local shopkeepers. So, when presented with an opportunity to met with and chat with to new people I relish it. Clyne Christmas market gave me a lovely opportunity to talk to all sorts of people.

I am pretty new to running a stall, I did it once about 4 years ago. I really enjoyed it back then but teaching commitments meant that I did not have the energy to keep doing it. That has changed now. I have the energy and the time to pursue this and yesterday I had a stall at the first Clyne Farm Christmas market. I realise that I have a lot to learn.

Clyne Farm sits on top of Clyne Common, high up above Swansea. It has sweeping views towards the sea-side village of Mumbles and across the massive Swansea Bay.

View From Clyne Farm Towards Mumbles
View Towards Mumbles (from the car park)

Once upon a time it was a riding stables but in recent times it has transformed itself into an top-class accommodation and activity centre.

 

Sparkly Bow Stall
Sparkly Bow Stall

Yesterday was their first Christmas Market and we were blessed with sparkling crisp sunshine. The photos above were taken in the first half an hour before it got busy. The crowds ebb and flow. After a quite half an hour, it is quickly jammed with families carrying babies wrapped up to the eyes in jump suits and bobble hats. The little girls are drawn to the “Sparkly Bow” stall further down my aisle. The table covered in glittery objects is exactly the right height to catch a 5-year-old’s attention – at eye-level.

This first onslaught is followed by another wave of families with dogs on leads, and in carried in their arms. There are lots of woolly coated “cockerpoos”  (Cocker Spaniels Crossed with Poodles) and some sharp-eyed border collies. They take in everything. Later as people leave for lunch in the other hall, it becomes calmer. People are clutching bags with their purchases. I recognise some people who came around earlier return to buy. It’s in the post-lunch calm that I make most of my sales. I chat with many of the people in the hall. My cards of Mumbles Pier starts a number of conversations about a controversial development of the Pier Head area that the local community (Mumbles Action Group) are currently fighting.

Clyne Christmas Market (with dog)
Clyne Christmas Market

I manage a quick break and visit some of the animals on the farm. I’d met Ted the collie and Flo the goat and her surrogate daughters, the sheep Brillo and Lucy, yesterday.

 

Ollie at Clyne Farm
Ollie the colt (6 months old)

Along a muddy tack there children’s pony rides on offer. I had to make a special journey along a different muddy path to see Peggy the Pig. She is massive. I give her a pat on her broad back and was surprised that her back was covered in bristles, not wiry hair. Her floppy ears cover her eyes, like nature’s sunshades, but it can’t be easy for her to see. I was told by Sarah who works at Clyne, that Peggy is pretty laid back and is a “morning” pig. She is active in the morning and spends her afternoons sleeping. Someone speculates that she’s a Gloucester Old Spot. I assume that they have only one big spot but looking it up later it seems that they were probably right and she’s an “Old Spot”.

Peggy the Massive Pig
Peggy the Pig at Clyne Farm

The hall is filled with bright sunshine but by the late afternoon, I’m starting to feel the cold. Although there’s carpet in the hall the concrete floor underneath is cold. I run to my car to fetch my woolly hat. As the afternoon wears on I notice that the tip of my nose is numb! After 5 hours in the hall, my feet are starting to feel like blocks of ice. The girl opposite me is wearing thin daps and ends up sitting on her chair with her feet tucked under her. At four o’clock the sun is low in the sky and someone mentions that there’s Christmas Parade in town at 4pm. That seemed to be the signal for the stall-holders to pack up and within minutes the hall is bustling with activity as the stalls are rapidly dismantled. I drive home with the sun setting over Clyne Common.

Emma Cownie at Clyne Christmas Market
Me and my stall at Clyne Market (my bag handles have just snapped!)

What I learnt

  1. Get new cash bag – my beautiful leather cash bag handle snapped as soon as I put it on. Although I tried to tie a knot in it, it kept coming undone.
  2. Thermal socks are needed (possibly 2 pairs).
  3. Clear prices on each rack. We had a price list but it was difficult for people to read it. Bull-dog clips or cardboard luggage labels are good for this.
  4. Paper bags for purchases – brown or white. Environmentally friendly and they look cool
  5. Camping chair – a wooden chair was hard to sit on all day.
  6. Paypal card reader or izettle for mobile payments. Not everyone has enough cash on them and you don’t want to lose sales
  7. Presentation is vital. Rustic chic is cool – I had wooden racks and a table easel but more wooden boxes for cards would be good. I learned a lot from Ed Harrison at Minnow across the hall. His presentation was excellent.

    Minnow at Clyne Market
    Minnow at Clyne Market
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Painting Cows

I am delighted to have sold “Koei 1509”, a painting of a South African cow, to a collector in Oxfordshire, England. The painting was based on a photograph by talented photographer Herman von Bon, who generously allowed me to use his image. Herman photographs the South African landscape along with its people and animals. I particular like his wildlife photography.

Oil painting of a Cow by Emma Cownie
Koei 1509

I like cows. I love all animals. I come from a family of animal lovers. I get pleasure from just looking at animals. I really enjoy painting them but I find it hard to part with my animal paintings.

Cows are the reason why I stopped eating meat a long time ago. When I was a post-graduate student at Cardiff University in the 1990s I spent a day cycling along the the flat marsh road that lies between Cardiff and Newport. It’s about 10 miles. On my way back, I stopped at a gate for a rest. I group of curious youngsters, Fresians, came up to gate to investigate me. They were cautious but seemed to egg each other on to come closer and stick out their noses to me. They amused me. I thought they were funny and sweet.

I stood for quite a while looking at them. Listening to them breathe. Cows have intelligent eyes. Big brown eyes. They weren’t essentially any different from the many animals my family had kept as pets over the years; cats, dogs and rabbits. Suddenly the thought came to me “I eat you and your friends”. I felt awful. Very guilty.

It felt very unnecessary.  I don’t need to eat meat. So I decided to stop. I’d been thinking about for for some time. People sometimes ask why I am a vegetarian and I could mention things such as the cruelty of factory farming, the environmental cost but I have never felt comfortable eating sentient creatures. I always felt a hypocrite for eating Sunday roast, no matter how tasty it was.

Oil painting of Hereford Cow by Emma Cownie
Hereford Red (Sold)

 

Many of my university friends were veggies but I didn’t like many vegetables (potatoes and peas was about it for many years) and I wasn’t sure what I would eat. To be honest, I was lazy. I had to learn to cook vegetarian meals. I started with a lot of pesto and pasta. A friend of mine recommended a Rose Elliot cook book and I painstakingly read the recipes (there were no photos in the book) and I eventually learnt a few recipes off by heart.  It was a bit of a slog but I felt much better for it, physically and mentally.

 

Although I don’t think that I paint cows all that often, they have added up over the years. I love Hereford cattle in particular. I was born in that English county and I love the russet red of their coats. You don’t see that many of them on Gower.

Colourful Painting of cow
Punk Cow (SOLD)

I seems to have painted Frisians the most – probably because I like the contrast of their black and white coats.

Oil painting of black and white cow in Gower landscape
Gower Cow (SOLD)

Gower Cow

I never paint “generic” cows. These are all real cows. All individuals. I found Gower Cow on the slopes of Cefn Bryn at the Penmaen end. She was chewing the cud with a small group of friends.

Painting of Cow at Pwll Du, Gower
Grazing at Pwll Du

The cow at Pwll Du was also with a group of friends, small herd I suppose, who came out of the undergrowth and started grazing on the grass by the stream at Pwll Du.

 

Writing this post got me thinking about the History of the cow in Art. There’s a lot to it so I have decided to save that for my next post.

 

Painting of black and white cow by Emma Cownie
On the Move

 

To see available animal paintings click here

To see large mounted animal prints click here

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Paintings as Emotional Creations

Paintings as Emotional Creations
Three Cliff Reflections
Three Cliff Reflections

I am delighted to have sold this painting, Three Cliff Reflections, to a collector in Scotland. As is so often the case, the collector has a connection to the location in the painting, having visited it and climbed to the top of the peaks quite recently. I hope that the painting brings back happy memories of the summer.

As a painter, I feel that I have succeeded if I my work can provoke an emotional reaction. I would feel that I had gone wrong somewhere if someone said “that’s interesting” or “it’s technically skillful”  about one of my paintings. Not that there’s anything thing wrong with being skillful, I just don’t want it to be the first thing they say.

They don’t have to be entirely happy emotions, either. I once had a friend who said a painting of mine, “Park Bench in the Snow” made her want to cry.

Park Bench in Snow
Park Bench in Snow

I am not sure why she wanted to cry, I think she said something about it reminded her of  the film “It’s a Wonderful Life”. That film always makes me cry too. Mind you, I was particularly fond of this painting and was pretty sad when I had to part with it. I didn’t cry though. I do have favourites, and this was one.

Quite a few of my people portraits have a bitter-sweet quality to them as I am drawn to the fragility or vulnerability of the sort of people who are frequently overlooked by our instagram obsessed  society.

Brief Encounter
Brief Encounter

Or amusing quality, I hope. I like observing little moments that are easily missed. Like these two children at the Uplands markets examining an old manual typewriter.

What does it do
What does it do?

I also like watching for moments between dogs and their owners, in particular.

Just a Second
Just a Second

Back to Three Cliffs Bay. This painting “Human Concern” (below) was based on a scene I observed at Pobbles Bay,  last summer. Pobbles Bay is right next the Three Cliffs Bay. The little Jack Russsell stood and watched his humans off in the sea, with such intensity. It amused me. I also found it very touching.

Human Concern
Human Concern
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Gower Coastal Walk: Llanmadoc to Crofty

Ivy House, Landimore

Part 1: Llanmadoc to Llanridian

I was feeling very nervous about this walk as I would have to change buses in the middle of nowhere. I very nearly chickened and got in my car after a fellow blogger commented that I “should not bother with rural buses but drive. However, it was a long walk, just over six miles, and I did not want to break it up into two or three circular walks. I wanted to walk the length of the north Gower coast in one go, if I could.  So I got up and packed sandwiches, lots of biscuits, a banana in its strange yellow banana “gimp” case and two bottles of water. I had decided that thirst was the worst torment on my last two solo trips and I was going to be better prepared this time.

Map of North Gower
North Gower Coast

I had caught the same bus to Port Eynon (the number 119 to Rhossili, if you interested) and had changed at Scurlage but this time I had to change at a location called Llanridian Turn. I have studied the map and I think I know where it is. I don’t remember passing it from the previous bus journey and it doesn’t really seem to be “on the way” to Rhossili. So I check with the bus driver as I buy my ticket.

Buses at Llanrhidian Turn
Buses at Llanrhidian Turn

The bus arrives at Llanridian Turn and it pulls in behind another bus, a number 116, but its not the one I want. So I ask the driver about the 115 to Llanmadoc and he says that he’s driving it and walk towards a small bus that has just arrived and he swaps buses with the new driver. He’s a friendly chap, with a sparkly diamante earring in one of his ears. So we set off. I am the only passenger.

St Madoc's, Llanmadoc
St Madoc’s, Llanmadoc

I end up standing at the front of the bus (holding on to the special rail) chatting to the driver for most of the journey. “You couldn’t ask for better weather” he says. He’s right. It’s a sparkling bright spring morning. It’s cold though. Only 7 degrees Centigrade (that’s 44 in Fahrenheit). He fishes out a timetable for me from his rucksack. It’s a timetable that covers all Gower buses. I have not seen this before, it certainly wasn’t to be found in the bus station anyway. “Where do you want to get off?” I have never had a bus driver ask where I want to stop before. This must be one the joys of rural bus services. I eventually get off by Llanmadoc Post Office. I wave at the bus driver as he drives away as if we are old friends.

I find a path, not an official coastal one, but it is sign posted for Whiteford Burrows, which seems the right direction, so I take it. It’s more of a farmers’ track than a path. I walk down a long muddy track, pass cattle, sheep and an old tractor and eventually reach the same point as we did on our detour from Cwm Ivy (to avoid the breached sea wall). I find it more by luck than any thing. It is very muddy.

This is Landimore Marsh. It’s a saltmarsh, an area of coastal grassland that is regularly flooded by seawater. Springs, small rivers called “pills”, flow out into the estuary, in meandering lines that make maze-patterns in the marsh. The main pills crisscrossing the area are Burry Pill and Great Pill.

Pill House, Llanmadoc
Pill House, Llanmadoc

For hundreds of years, the people who lived along its edge have used the marshlands for grazing their animals. They still do today.  The lambs that are raised on the salt marshes are reputed to have a distinctive and special flavour, but I cannot speak from experience as I am a vegetarian. Although the cows and ponies know to move off the marsh with the advancing tides, especially the spring tide that can move with great speed, the sheep for some reason don’t. The local farmers have to bring them in. Although sheep can swim, as all animals can, for a short period of time, if they get cut off by the tide they will drown.

The walk along the marsh path is very muddy indeed. I have visions of me sliding and twisting my ankle or falling flat on my face, but I manage to survive without incident. I take the low tide route, but I spent much of my times sliding around wondering if the high tide route would have been less muddy.

To my right is North Hill Tor, or Nortle Tor, on which are the remains of a partial fortifications, probably dating back to the Iron Age period (c. 800 BC – AD 43). According the the famous Swansea-born historian, Wynford Vaughan Thomas, Nortle Tor was quarried in previous centuries. During the Napoleonic Wars, one of its extensive caves provided useful hiding place for local young men when the press gang was spotted coming across the estuary from Llanelli.

North Hill Tor, Gower
North Hill Tor, Gower
Landimore Marsh, Gower
Landimore Marsh, Gower

There is a wonderful presence about the marsh. It stretches away as flat as a proverbial pancake. No sea, or River Loughor in sight. The marsh is indented by patterns of muddy pools, creeks and channels. It is very peaceful and I get drawn into the atmosphere of the marsh. The grass has a curious white-ish tinge to it which I assume is from the salt. I see a lot of sheep’s footprints but no sheep, although I can see a few ponies far away on the marsh. It turns out that the sheep are in the farmers’ fields with their lambs.

The path eventually passes a couple of houses and leaves the marsh. I see my first fellow walkers of the day.  I only see one other couple on the path today. I see, however, vast numbers of sheep and lambs, marsh ponies, robins, sparrows, a red kite and a large Great White Egret flying over the marsh.

The path reaches Bovehill, where it turns further inland and passes the remains of another fortification, Bovehill Castle, a fortified mansion with walls a metre thick. It was once the seat of the 14th century crusader knight, Sir Hugh Jonys and later Sir Rhys ap Thomas, a support of Henry Tudor (the father of Henry VIII of six wives fame).

Call Box at Landimore
Phone Box at Landimore

 

Ivy Cottage Landimore

Ivy Cottage Landimore

The “coastal” path then turns off the road onto Bovehill Farm. I can’t see the sea and now I can’t really see the marsh, either.  I don’t see the marsh again for a long time, perhaps for about as much as an hour as the path trails inland. In fact, it turns out its about 2 and a half miles to Llanridian. The path instead, runs through the farmland, parallel to the marsh.

This get a bit confusing. I often enter a field and have little idea of where the path goes. So I set off at a 60 degree angle only to adjust my course when I eventually spot the stile in the opposite corner of the field.

Where is the path?
Where is the path?

There have not been enough walkers recently to make tracks for me to follow across the fields.

Landimore
Landimore, North Gower

I see swallows (the first I have seen this year) over the fields by Landimore. Weobley Castle, another fortified manor house, is a dark presence looming on the cliff above me. From the time of the Norman conquest of Gower to the 15th century, Weobley belonged to the de la Bere family.

Weobly Castle, Overlooks Llanridian saltmarsh
Weobley Castle, above the path

Just below Weobley Castle there is a road that leads out into the marsh.

The saltmarsh by Weobly Castle
The salt marsh by Weobley Castle

Where does it go? It doesn’t seem to go anywhere, as such.

Marsh Road by Weobly Castle, North Gower
Marsh Road by Weobley Castle, North Gower

At the end of the track, there is a odd wooden structure out in the estuary. I can see it with my naked eye but my camera is struggling to get a good picture. I think its made of wood. I can’t tell. You can see it from miles around.

What is it? Wooden structure in Burry Estuary, Gower.
What is it? Is it a wooden structure in Burry Estuary, Gower?
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What is it?

According to historian Wynford Vaughan Thomas, the American army used the marshes as a firing range during the Second World “War. It turns out that it was the US army that built the causeway out into the marshes. The strange building, is not wooden but made of concrete and brick. It was a look-out built by the Americans. I have to search online for close up photographs.

Photo credit: mylifeoutside.co.uk

There is a very dark tale about the Burry Estuary during the Second World War that Wynford was probably not aware of, as it was kept secret until 1999. There had been rumours about the secret testing of chemical and biological weapons in the estuary during World War II for many years. This story is to do with the British government and experiments in biological warfare, not the American Army.  The wartime government had asked Porton Down, its chemical warfare research installation, to conduct trials of an anthrax bomb. Anthrax, is a lethal bacteria, which was seen as having “enormous potential” for biological warfare. I would like to point out that biological warfare was, and still is, banned under a 1925 Geneva protocol. This is why countries will make a big fuss about its use on civilians in Syria or even Salisbury, England.

Bristol Blenheim
Bristol Blenheim

In 1941 there had been a series of tests of anthrax bombs on the uninhabited Gruinard Island, off the west coast of Scotland. These tests had produced contradictory results, primarily due to the soft, boggy ground at Gruinard, so it was decided at short notice to carry out a single replacement test on the firm sand of the Burry Inlet.

On a Wednesday afternoon, in late October 1942, the scientists carried out an experiment over the north Gower salt marshes,  dropping an anthrax bomb from a Blenheim aircraft. Two lines of 30 sheep were placed downwind of the aiming mark, spread at 10 yard intervals. When the bomb fell it made a crater of about three feet in width and two feet deep. Three days after the trial, two of the sheep died of anthrax septicaemia, and three others were ill for a day or so before recovering entirely. Apparently, the scientists proclaimed the test result ‘very satisfactory’, especially as this was the first time such a bomb had been dropped from a plane flying at operational level.

Warning sign on the marshes
Warning sign on the marshes

According to the report, the site was ‘effectively decontaminated’ by the incoming tide a few hours after the test took place. The carcases of the dead sheep were ‘buried deeply at the seaward edge of the marshland area’. The remaining sheep were observed for seven days after the test, the survivors then being slaughtered and buried.

This all seems a bit of a casual clean up and in marked contrast to the situation at Gruinard island, which had served as the previous test site for anthrax. In that case the entire island was set ablaze and subsequently closed to public access for nearly 50 years. Even today people and animals alike avoid the island, despite efforts to decontaminate the island in the 1980s. All I can assume is that larger quantities of anthrax was used in Scotland.

Update: There’s no need to worry about the dangers of anthrax as it was confirmed in 1987 that “investigations …[after the] trial revealed no evidence of any residual contamination”.

Gruinard Island
Gruinard Island

When the path finally reaches Llanrhidian, it seems like quite a shock after all the open space of the marsh and the fields. I think about walking up to the main road where I could catch a bus home but instead I press on .

My next post will be my final stage of the coastal path, from Llanrhidian along the coastal road to the village of Crofty.

 

 

 

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Gower Coastal Walks: Whiteford Point

Gower-Map-M-1024x516

I have a confession to make. This walk was done out of sequence. It was done on March 28th, on the day the clocks went forward. That seems a long time ago. It was a beautiful day but very cold. Back in March when I had only got as far as Pennard and Three Cliffs, I sort of panicked. This was because I could not make head nor tail of the bus timetables and doubted that I could make it around the coastal path by public transport. So my husband, Seamas, suggested that we drive to the most out of the way places in Gower and do circular walks and then I would fill the rest in with public transport. Another blogger has since directed to the invaluable traveline.info which helped me made sense of the bus connections, when the online bus timetables seemed incomprehensible to me.

So we decided to go to Whiteford Point. It is a mini-peninsula off the northern corner of  Gower peninsula. This is seen by many as the wildest and most remote part of Gower. We drove along the narrow lanes to the northern tip of Gower, to the village of Llanmadoc. Llanmadoc Hill is quite imposing as you approach it from the South East. I generally think of Gower as having two big hills (Cefn Bryn and Rhossili Downs) but Llanmadoc Hill at 152m is pretty high too. You get a sense of how it dominates this corner of the peninsula from Cedric Morris’s painting of it in 1928.

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Llanmadoc Hill, Cedric Morris 1928 

If you drive through the ajoining villages of Cheriton and Llanmadoc, you will come to Cwm Ivy Court Farm.

Oil painting of Cheriton Gower by Emma Cownie
Far Hill Above Cheriton, 2016 (SOLD)

On the opposite side of the leafy lane is an open gate to a field, which acts as a temporary but well-used car park. When we arrive after lunch, it is pretty full.  There is an honesty box built into the wall for walkers to put their car park fee of £1. Considering the National Trust charge up to £5 at Worms Head, it seem like a bargain.

 

We then walk down the lane past a small number of houses, the last one has a ice-cream tub of drinking water for passing thirsty dogs. Once you pass through the five-bar gate you are on National Trust land.

In 1953 it was designated a Site of Special Scientific Interest as it is an internationally important feeding ground for wading birds and wildfowl. Not long after in 1965, Whiteford Point came up for sale by auction and there was great worry that it might fall into the “wrong hands”. Fortunately, the National Trust was able to buy it. This was the first property to be acquired as a result of something called “Enterprise Neptune”, which was the National Trust’s campaign to protect Britain’s coastal heritage.  So this area is a now a nature reserve owned by the National Trust.

Whiteford Point Map
Whiteford Point

If you follow the lane down hill there there is a choice.

Straight ahead is are the marshes and sands dune and eventually open beach that joins with the wide expanse of Broughton Bay, to the west. If you take a turn right through another wood gate you are then in Whiteford Burrows.

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Pine Trees

Whiteford (pronounced Whit-ford) is apparently derived from the Danish ‘Hvit-Fford’, meaning white ford. The Vikings left their mark on the outward-facing west coast of Gower, in their placenames at least. Look at left side of the map above. Worms Head, Burry Holmes and Whiteford are all derived from Scandinavian words. Perhaps, the Viking who traded and marauded up and down the Bristol Channel as late as the 11th Century, only ever gave names to the landmarks they could see from the water, but they certainly stopped by at Swansea, whose name is also Scandinavian in origin. It means “Swein’s Eye” or Island. There used to be an island at the heart of Swansea until the Victorian diverted the river. The Welsh call it “Abertawe” which means the mouth of the River Tawe.

 

Once into the the nature reserve you pass the very cute Burrows cottage, which used to be a forester’s cottage (you can rent it) and further along the path Cwm Ivy Bunk House (which you can also rent by the night). There  are no other houses on Whiteford Point. It is a very lonely place from a human point of view. It is however, full of undisturbed wildlife.

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Either side of the path are many grand pine trees, smothered with massive pine cones. They are Scots and Corsican pines. I think gives the place a Mediterranean air. They were planted from the 1930s onwards. There are hundreds them, thousands. I have read somewhere that there were 20,000 in the 1970s. They help certainly help stabilise the dunes and stop the sand blowing away.  You can see these trees from miles around.

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The pine trees as Seen from Hills Tor

I get excited when I see what I think are public toilets in a very tasteful wooden chalet on the path ahead. I am always looking for “proper” places to relieve myself instead of the inevitable bushes.

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Not toilets!

Ah, what a fool, I am. As I get closer I realise my mistake. Its not a nice artisan toilet block. It’s a bird hide for watching wildlife on the salt marsh to the right.  The door is open and we can see its empty. So we go in and peer across the flat marsh. We don’t have the patience to wait.

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Oil painting of Wood at Whitford Sands Gower
The Woods at Whiteford Sands Professional Quality Print 50×40 cm (with mount) £45.00

Once we have passed the bunk houses we follow a sort of path through the pine woods, climb a stile over a wire fence and we are on the burrows.  Whiteford Burrows, or sand dunes, cover an area of three square miles. It’s bigger than it sounds. There is a vast expanse of beach on the other side of the dunes, leading out along the edge of the Loughor Estuary.

It was a long walk along the beach – it a very empty beach. Two miles of it to Whiteford Point. People are small dots off in the distance.

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Whiteford Sands (towards Broughton Bay)

The landscape here is reduced to stripes of colour: Sky-sea-beach-dunes. The tide is out and the sea is very distant.

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Whiteford Sands

I am slightly unnerved by the signs saying informing me that Burry estuary was used as a shelling range by the British army during World War Two and the unexploded bombs are still likely to turn up in the sand dunes. Yikes! I take this seriously, I remember a World War Two bomb that was recently found in the near by Loughor River although I can’t find the story online. In 2015 a family found what they thought was a “buoy” covered in barnacles on the northern side of the estuary, at Burry Port. The kids spent quite a bit of time jumping on the strange object and had their picture taken next to it.  You have probably guessed it by now. It wasn’t a buoy it was an old Second World War bomb. The beach was cleared and the “buoy” was blown up.

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That’s NOT a buoy!

Shells still turn up at Whiteford Point too. In September 2014, for example, some sixty shells were exposed at Whiteford Point, and bomb disposal teams were summoned to deal with them. The firing range was also used on a regular basis for the firing of chemical shells during the Second World War, including ones containing mustard gas.  Earlier this year there were reports of the Ministry of Defense blowing “something” up earlier this year in the Loughor Estuary so I don’t fancy taking my chances and stick to the beaches. I expect most people do the same and the dunes are left undisturbed.

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Beware Unexploded Shells!

 At Whiteford Point there is a curious cast-iron light house. It is the only wave-swept cast-iron tower of this size in Britain.

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Whiteford Lighthouse

It reminds me of a giant bird cage. The local seabirds, gulls and cormorants use it as a convenient perch. It is not close to the beach but it can be reached at low tide, although its a long rocky walk over the seaweed-covered rocks.

Oil painting Whiteford Lighthouse by Emma Cownie
Wave-Swept Iron Tower, 2018  Professional Quality Print 50x40 cm (with mount) £45.00

It reminds me that much of the Gower coast was always hazardous to shipping. This area in particular was very treacherous and a large number of ships were wrecked at both nearby Broughton Bay (where ships used to be able to anchor in the bay until it was silted up in mid-nineteenth century) and here along Whiteford Sands.

Tragically, the lighthouse failed to prevent a one of the biggest shipping disasters in the area, which took place in January 22nd 1868. On this calm winter night 16 ships out of a fleet of 19 sailing out of Llanelli, sunk in a single night and possibly up to 30 or more lives were lost. These ships had been towed out of Llanelli by steam tugs. They had been cast off and rounded Whiteford point, aiming to clear Burry Holmes with the ebb tide. This was in the age of sail and the ship needed a breeze to power them on their way.

Unfortunately, the wind died and a heavy swell tore the ships from their anchors and drove many of the ships onto the rocks at Broughton Bay, or smashed them against each other. As it was such a quiet night, no one on shore had any idea of the disaster that was happening in the estuary. A large buoy and chain and the remains of a wooden hull near Whiteford Point are all that is left of these ships.

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Image from www.mylifeoutside.co.uk

Although the beach seems utterly deserted the air is filled with the high pitched piping sounds of little wading birds.

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They are too far off to identify with any certainly, but I think they might be oyster catchers. We are feeling tired after our long walk along the beach. We sit on the edge of the dunes for a rest and chocolate biscuits, listening to the euphoric trilling of skylark song.

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Around the tip of Whiteford Point the path reappears and winds its way along the edge of the pine woods. The path is very water logged and at many points it resembles a series of small still lakes rather than a path. So we hop from muddy patch to muddy patch.

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Looks like a lake but its the path!

Here there is lots of bird song – blackbirds, ravens, rooks and we saw linnets, larks and tiny robins. On this side of Whiteford Point, it is very flat marshland. The sea is but a distant memory. This is clearly a river estuary and the river is far off beyond clumps of pine trees. The marshes are covered in lush grass and edged by yellow reeds. There are shaggy marsh ponies, who seem very small in comparison to their cousins who graze on Cefyn Bryn and Fairwood Commons.

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Weobley Castle in the distance

As we get closer to Cwm Ivy, our starting point, we can see the village Llanmadoc spread up the hillside. We pass the late Medieval sea wall. There has been a sea wall at Cwm Ivy since the late 17th century when it was used to reclaim the marshland from the sea. The coastal path used to follow the wall round to Llanmadoc. Not any more, not since 2014 when the wall was breached by storms. The Welsh Government Shoreline Management policy stopped the National Trust from repairing the wall and breech.  This ‘No active intervention’ policy of letting nature take its course was a controversial decision at the time. So this fresh water marsh has now returned to being a salt marsh. The breach is too big to jump over, there’s no bridge so you have to take a diversion at Cwm Ivy to reach the rest of old coastal path (which we did on another day).

The walk took us three hours, but as much of it was on sand so it was pretty tiring. We only took 4 biscuits with us, thinking that our lunch would see us through. I decided that I should have taken a couple of bananas and sandwiches too as you always need more food than you think you will need. If you don’t eat them I know of two helpers who will happily finish them off for me.

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Biscuit? Yes please!

Next week: My final very long walk around the Gower Coastal Path.

 

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Catching the Morning Light

When I get hold of an idea I can get quite obsessive about it. Lately, it’s been early morning light. I think it sprang from a post I wrote about transposing some of the techniques I used for my “Urban Minimal” project to what I only half-jokingly called “Rural Minimal”. I think that my rural Gower houses did fulfil the spirit of “Rural Minimal” but it got me think about shadows. Now, shadows were my first love. They still are. It’s hard to find any painting of mine without blue/mauve/purple/brown shadows. I go through tubes of Lukas 1862 Mauve at a steady rate. Many of my Gower woodland paintings used early morning winter light.

 

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Enchanted Wood  Limited edition mounted print (unframed) 

And why do I love shadows so much? It’s because they act as a foil to the light. The orange next to the dark mauve positively leaps off the canvas. Perhaps, its a cheap way of thrilling the viewer? I am always very impressed by artists who capture a gloomy or overcast landscape. Plein Air painters prefer overcast conditions because they are more constant and American artist, Jeremy Sams,  demonstrates this really well in his painting. He says “The good thing about painting on an overcast day is that you don’t have to chase shadows. The light remains very constant and my acrylic paints stay wet for a good long while.”

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Jeremy Sam’s Plein Air Study

However, I love shadows. They make a composition interesting and dynamic. So, anyway, the post about Rural Minimal got me thinking about shadows in rural settings. I realised that because I have been focusing on my Gower Walks and working to bus timetables that I was mostly walking in the late morning and finishing up in the early afternoon. I was becoming increasing frustrated that my lovely walks weren’t inspiring the sort of paintings I like to make. The light wasn’t right. Midday light, especially in the summer, has a tendency to bleach out the details. This is what shadows “do”, they show us the details of the landscape.

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Light Shadow

I have always been a morning person. Each morning is like a fresh start to me. What ever happened yesterday, last night is gone.To be honest, I think that have always done my best work by 11 am. When I was writing my PhD thesis, many years ago, I’d do my best writing between at 8 and 11 am. To be honest, most of the work I did after 11 am was fact checking (this was in the days before the interest when you had to look things up in books) and faffing, but I’d dutifully stay at my desk til 5 pm.

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Bernard Street Bus Stop (Back of Brynmill Launderette)  (Oil on Linen Canvas, 33 x 41 cm unframed)

 

So I decided that I need to seek out early morning light on Gower. This long spell of hot weather meant that morning skies were often (but not always) clear. That meant getting up early.  I have been dragging myself out of bed just after sunrise. It’s summer and the sun rises just after 5 am in here Wales. It is painful getting up that early but once I have had a cup of coffee I can face the outside world, just about.

The first time I drove down to Three Cliffs Bay, 6 miles away, I was so tired that I actually forgot my camera! I felt so stupid but I got back in my car and drove back home to fetch the darn thing, delaying my “start” by 30 minutes.

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Pobbles Bay after 8am

Compare the light and shadows to yesterday morning (when I remembered my camera) and actually got there for about 6.30am.

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Pobbles Bay 6.30 am

It’s different. Not necessarily better, just different. Do you know what, it doesn’t matter. I like both conditions.  The changing tides always also variety and interest. Summer Morning light has a beautiful rich quality to it and I like seeing how it changes, the shadows shorten, darken, light break over the cliffs, as the morning progresses. I have sat down on the cliff tops and watch the light change.

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Early Morning, Three Cliffs  (Oil ob Linen canvas, 80×60 cm, unframed)

I like seeing nature first thing. I like seeing the dew. In this very dry summer it’s a godsend. The grass on rolling fairways of Pennard golf course has turned the colour of straw except for the patches where the dew collects in the morning. There it’s a fresh green. Walking down towards the sea, along the sandy path by the golf course, I often see the white tails of wild rabbits dashing into the undergrowth. Their numbers in the UK have fallen in recent decades but thankfully, there seem to be plenty on Gower.

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Welsh Wild Rabbit

Free-range cows roam the cliffs of Pennard and South Gate as well as the valley next to Three Cliffs Bay. They are usually busily eating the grass they can find down in the marshy valley or in the shadows of the thorny gorse bushes, or even in the Golf Club car park before the golfers arrive!

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Cow at Pennard

 

Cows chewing the cud (mid morning) and cows at work, eating grass (early morning).

I delight in the long shadows and the reflections at low tide. How the reflected light is more golden than the light on the rocky cliffs.

 

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Three Cliffs Reflections  (SOLD Oil on Linen canvas , 80x50cm, unframed)

At high tide the colours all change again.

 

I have got up early and visited Rhossili, Penmaen and Three Cliffs Bay six times in the past fortnight. This includes the morning I thought the light cloud would clear but instead it thickened. A passing Jack Russell was photographed, as well as the rabbit above. So, I sat down and sketched.

 

I will keep going until this weather goes off, while may well be very soon. I will be working from this research for quite a while after it has clouded over again.

A while back, last June in fact, I read an excellent blog post by American artist Luann Udell entitled “How Long Did It Take You To Make That?” in which she discusses all time-consuming processes and skill that go into creating her pieces. It occurred to me that while the actual time it takes to paint my work may take anything from one to three days, depending on the size of the canvas, the actual thinking, planning, gestation, waiting for the weather and preparation takes a lot longer. I should also include in that waiting for the seasons to change. Just yesterday I was remarking to my husband that the heather was starting to flower and so another visit to Rhossili Downs would be in order soon. Nothing stays the same in nature, or in life! My job is to observe and attempt to capture some of those fleeting changes.

 

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Gower Coastal Walk: Blue Pool Bay

The Gower boasts two gems that most visitors never see.  I have lived in Swansea for 19 years and this was the first time that I saw them. These are Three Chimneys, a sea arch that used to be two arches,  and a massive rock pool known as Blue Pool. These two marvels are not easy to find. They are tucked to the north of Broughton Bay. They are located on Blue Pool Bay, in the northern-eastern corner of the peninsula. You cannot drive to this bay but have to walk.

I ended up doing the walk twice in one week. The first time,  it was sunny when we set off from Swansea. We had sun hats too. The car park next to Broughton Caravan Park, where we start the walk, was free. This is a rare thing on Gower. We are forever pawing through our change to find enough pound coins for the ticket machines. They never seem to take £5 notes or credit cards. This car park sits next to a large static caravan park. Many of the people who own caravans here live close by in Swansea. It has a friendly family feel to it, it has palm trees and little gardens.

Almost as soon as we got out the car it clouded over. We walked through the large static caravans and along a path covered in wooden slats, which was wonderfully easy to walk along.

As the path snaked around the hill and entered dunes the clouds came lower. The further along the path we progress the mistier it got.

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Not a lot to see!

Eventually, we see can Three Chimneys from the top of the dunes. It was clearly two arches, once upon a time, but one has collapsed.

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Three Chimneys

We walk on until we reach Burry Holms, another of Gower’s three tidal islands (the others are Mumbles and Worms Head). Just over nine thousand years ago, it was not an island but a hill nine miles from the sea.  There is a lot of archaeology here, including a Mesolithic site, a Bronze Age burial mound, an Iron Age fort with a deep defensive ditch and bank, and the remains of a monastic settlement founded in the 11th century and abandoned during the 17th century. There are also a number of post-Medieval quarries and limekilns are along the cliff edges.

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Burry Holms in the Mist

No one knows why it is called Burry Holms. There is a port across the Loughor estuary called Burry Port, but Burry Port in Welsh is Porth Tywyn which means White House Port (I think). I’m not sure what the Burry means in this case, but Anglo-Saxon a “burh” usually means a fortified town. Many of them date back to 9th century when raids and invasions by Vikings prompted Alfred the Great to develop a network of burhs and roads to use against them. I know that the island’s name of “Holm” comes from the Old Norse meaning “island in an estuary” (think of Flat Holm and Steep Holm further out in the Bristol Channel). This also reflects the Norse domination of the waterways in this area, which lasted up until the 11th century. After all Worms Head (Wurm – meaning dragon) is also a Norse name.

The ruins of  the 14th-century chapel dedicated to Saint Cenydd can also be seen at the eastern end of the island. St Cenydd, sometimes Anglicized as Saint Kenneth, was a Christian hermit who founded a church at Llangennith, to the south of Burry Holms. The story of St Cenydd’s early life is wonderfully fantastical and not to be taken at face value. Cenydd was supposedly a Breton Prince, born of from an incestuous relationship, at Loughor (this is a modern day suburb of Swansea).

Baby Cenydd was born with some sort of disability, and on account of this he was put in a willow basket/cradle and launched into the River Loughor, like a Celtic Moses. This willow basket eventually washed up on Worms Head and the local seagulls and angels looked after the baby and somehow managed to bring him up as a Christian. Interestingly, St David, Wales’s patron saint, cured Cenydd of his disability in later life. Was St Cenydd at all grateful? Not a bit of it. He wasn’t happy about this at all and actually prayed for his disability to be restored!

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What is going on here?

So we sat looking out at Burry Holms eating biscuits. We watched a seagull swoop and circle the cliffs again and again. He did this at least ten times. I was trying to decide if he’s was scaring off some jackdaws or was jealous of a courting couple.

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Love is in the air!

Another pair of gulls sit cosily together on a ledge. Then, suddenly the male mounted the female and a quick bit of mating takes place. The male then abruptly flies off. “To the pub!” my husband drily observes.

On the way back I try and find the rock pool, Blue Pool. We seem to have missed it on our way to Burry Holms. I clamber down a hill and finally spot it nestling in the rocks below.

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Blue Pool

I can see people in wetsuits leaping into the famed rock pool. I am very jealous. Local legend says it is bottomless. The swimmers seem to be very confident they won’t hit the bottom as they leap into it.

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Jumping in!

Two women climb to the top of the highest lip of the pool and leap into the water. It looks great fun. I read later that it is very deep. Anything from four to eight metres deep, depending on tidal and weather conditions. As much as I enjoyed watching the fun and games I was a little frustrated.

I’ll show you why. This is what I was hoping for compared with what we saw.

So I went back to get another look at Blue Pool and in sunshine this time. I returned early one morning later in the week alone. I set off at 8.15 am hoping to catch the low tide because I have the idea that you can walk around the headlands and walk to Blue Pool Bay. This time, it is cloudy in Swansea but brightens up as I reach Llangennith which is just down the road from Broughton Bay.

So I walk onto the beach full of confidence that I will be able to walk to Blue Pool Bay along the shore. I couldn’t.

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View Across Broughton Bay

I don’t know if it wasn’t a particularly low tide, I have discovered since that not all low tide are the same. Some are lower than others. Just as some high tides are higher than others.  So I had to retrace my steps and I clambered up the rocks as a short cut to the coastal path. I eventually made my way along to Blue Pool Bay – I found a different path that led down the dunes and some very steep rocks.

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Three Chimneys on a sunny day
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Three Chimneys, Blue Pool Bay

I kept my rucksack with me, so that if I fell, I’d have my phone with me, or at the very least water and biscuits! I did have the over-dramatic thought that if I fell, no one would find me for hours/days. I chickened out of climbing all the way down to the sandy beach as the tide has just turned. I knew the tide came all the way in, leaving no beach at all.  I wasn’t sure how quickly the water would come in.

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Blue Pool Close up.

I climbed back up to the coastal path OK. I then carried on to Burry Holmes and the vast three-mile expanse of Rhossili Bay.

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Burry Holms

I walked along the beach towards Worms Head. I ate my banana and put the skin back into my bag. I had seen enough rubbish on the foreshore to depress me. I watched the little wadding birds, sanderlings, I think running along the surf on their delicate long legs.

I retrace my step along the path through the dunes and I enjoy the silence which was broken only by the song of a skylark, one of my favourite sounds. I pass the caravan site and carry on along the sweep of Broughton Bay.

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I saw the white tails of rabbit disappering into the undergrowth in a fields filled with sheep and their lambs. I then come across another caravan park. This one is called Whiteford Bay Caravan Park. It seems an unfriendly place. There are lots of warning signs and no trees. Broughton Bay Caravan Park seems much more relaxed, with its palm trees and little gardens and free car park.

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I pass a group of senior hikers, including a chap who must be in his 80s. There’s a role model, I think. The path climbs up a sandy path up to Hills Tor.

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The View Across the Estuary

I sat down on a sandy ledge to admire the expansive view towards Whiteford Point and try and make out the rusty iron Victorian lighthouse. I can just about see it. You can’t see it in the photos. It is very breezy up here.

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View Towards Whitford Point

I ate two chocolate biscuits. They are delicious but I have drunk most of my water with only a couple of mouthfuls left. So because I know I have so little water left, I start obsessing about water on my walk back to the car. I cross a little stream that runs from Moorlake into Broughton Bay and consider trying to take a mouthful of it. It is quite marshy here behind the burrows. The sea is out of sight. I decide that in future I will carry two bottles of water with me.

There are Two boys are playing on the tops of the dunes. They are school-aged- why aren’t they in school, I think to myself. Once a teacher, eh? I say nothing and pass on.

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By the time I reach Broughton farm it has clouded over. My calfs are now aching from so much walking on sand. They carry on aching later on in bed. I’m not surprised when I work out that I walked 6 and a half miles, and a lot of that was on sand.

Next walk is Whiteford Point for a close up view of that iron lighthouse.

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Landscape Painting – Rural minimal

Last summer I started my series of “Urban Minimal” paintings of the streets of Brynmill, Swansea. These paintings were my “Hollowed Community” project which were exhibited in the that year’s Madeinroath Festival. That’s not a typo, by the way. The festival organisers stipulate that you type it as one word Madeinroath, rather than three “made in roath”. Roath is a suburb of Cardiff, by the way. They also stipulate that the “in” in “Madeinroath” has to be in red too. It’s driving my spell checker crazy!

My “rules” for composition and painting this project were:-

  1. No cars

2. No People

3. Bright light. There must be shadows – at diagonals if possible.

4. Simplified forms – there must be little detail in the final painting. I want to explore the interplay of the geometry of shadows and man-made structures – the tension between the 3D buildings and the 2D shadows. Simplified blocks of colour.

These rules worked well in an urban setting, especially with the sea light we have in Swansea.

Since then, I have been caught up in my Gower Coastal Walk.

Worms Head Coast Watch Station
Worms Head Coastwatch Station

By my calculations, I have three, maybe four more Gower walks to do in order to complete the length of coastline but other commitments are keeping me from finishing. Firstly,  I have a pile of exam scripts to mark. I am rusty and I mark slowly these days. Secondly, a summer virus has made me feel under the weather.

I haven’t consciously applied the urban minimal rules in a non-urban setting. What’s the problem? The applying Rule #1. “no cars” and #2 “no people” rules is easy enough. As is #3 “Bright light”. Then there comes the difficulty. The second part of Rule #3 “There must be shadows – at diagonals if possible.” Walking late morning, mid-day day means that there are few long shadows and they are difficult to find on beaches too. Although, there have been a few.

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Langland (SOLD)

 

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High Tide at Three Cliffs Bay  Limited edition large mounted print  (free postage)

Finally, Rule #4 “Simplified forms – there must be little detail in the final painting. I want to explore the interplay of the geometry of shadows and man-made structures – the tension between the 3D buildings and the 2D shadows. Simplified blocks of colour.” I never really followed this rule to the letter as I thought details, such as window sills, and reflected light on glass, breathed life in pictures. It was knowing where to add detail and where to simplify that was important.

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Coloured Sands at Three Cliffs Bay 

Limited edition large mounted print (free postage) 

Here, I have just been very cautious about going “too far” with this in a rural setting. But I have been edging that way, such as with my treatment of sand. Other aspects of my composition such as clouds and vegetation have not really been “minimal”, not in a conscious way anyway.

I think I need to challenge myself and make myself think about how I am tackling these subjects. I think my recent paintings of rural buildings (that’s cottages to you) has been much more successful.

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Port Eynon Shadow (SOLD Oil on Linen Canvas, 46x38cm, unframed)

You may well say are just rural buildings instead of urban buildings. Yes, but they are stepping stones. I am still thinking about how I apply these rules when there isn’t a building in the picture!

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Afternoon in Port Eynon (Oil on linen canvas 33x41cm unframed) 
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Port Eynon Corner (SOLD)

If you want to buy any of these painting clink on the link below each painting or look through my Buildings and Streetscapes gallery.

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Six Hundred Sales!

I can hardly believe it myself! On Tuesday I sold my 600th painting via the online gallery www.artfinder.com. My sales total had been stuck on 599 what seemed like an unbelievably long time – it was a week in fact. I have actually sold more than that either directly or through other online galleries. All of those paintings were unique too.  I have never gone in for mass producing generic scenes. I believe that novelty keeps my work “fresh”.

My work may explore certain themes such as the Brecon Beacons, Gower Woodlands, Swansea people, the Gower coast, but each painting is an individual. Each painting is of a real specific place or of real people. Perhaps that shows a failure of imagination on my part, I don’t know.

Although I may have had periods when I have felt a bit “flat”, such as after an exhibition, but so far I never actually run out of inspiration. This is partly due to the world around me constantly inspires me but also, more importantly,  because of the unfailing encouragement, inspiration and support provided by my artist husband, James Henry Johnston (known to his friends as Seamas – pronounced “Shay-mas”).

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Seamas

Seamas founded our Art business in the midst of one of the most difficult times of my life. I had developed PTSD after a car accident and this contributed to a breakdown. Painting was an essential part of my recovery (and still is). Not only did he give me crucial emotional support through an incredibly  difficult time, (all whilst sitting his Psychology finals) he set up a website and put some of my paintings on an online gallery called Artfinder. To our delight I started selling. Like many artists, I find the marketing side of the business challenging at times. I was terrified that people would be rude about my art and that would then affect my fragile confidence. Happily that has rarely happened.

So in those early days Seamas acted as “shield” and would write all those upbeat posts on Facebook about sales and upcoming exhibitions. He would also work on direct sales, face-to-face and online, negotiating terms with collectors. I have only really come to appreciate the sheer amount of time and effort he has put into promoting my work since I started working as a full-time artist and had to tackle platforms like pinterest and instagram. That term “full-time artist” is a misnomer as it might give you the impression I spend all say in the studio. I spend at least half my time working on social media and marketing.

Artfinder has been a massive part in being able to make that leap and become a full-time artist. Being self-employed is full of ups and downs, it’s very much “feast or famine” so to look back and see 600 sales over 5 years is quite amazing. Long may it continue. I was going to end this by quoting Samuel Butler, Victorian novelist and satirist who said; “Any fool can paint a picture but it takes a wise man to be able to sell it”, but I want to rephrase that with “Any fool can paint a picture but it take a genius to sell it.”

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Tenby Tide
Tenby Tide  Large professional quality signed and mounted print £45
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Curator for the day

I have been asked to be a curator for Artfinder.com. This means I will put together an art collection for the online gallery http://www.artfinder.com. I am very excited and honoured by this chance. I have been represented by Artfinder since 2013 and I have sold 599 works through them. The site has grown and grown over the years and now represents over 10,000 artists.

It’s not the biggest site out there but for several years its been the best one for independent artists. I’ll explain why.

Each artist is given a lot of control over their own page or “store front”.  You can directly upload photos of your paintings to the site without waiting for an administrator to approve it. You can also directly contact collectors through their messaging system, rather than through the administrator. This makes customer care a whole lot easier.

There are many very talented artists on the site but the increase in the sheer number of artists has made it more and more difficult to be “seen”. So being a curator for the day is my chance to bring attention to the many excellent and talented artists on the site.

As a teenager I used to fantasizing about having the chance to do a supermarket sweep. I used to think about where I would direct my trolley and what to sweep into the trolley in less than three minutes. Funny, how that has no appeal to me these days although, I do like to get in and out of the supermarket in a short amount of time as possible! Twenty minutes, in and out and I am happy.

This is going to take a bit longer than that!

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Andrew Reid Wildman

So I have my chance to “sweep” about 150 artworks into my basket or collection. I am very excited by this. Over the years I have book marked and pinned artworks that have caught my eye and here’s my chance to show them off to the world. I try not to think too much about it. There are some artists who spring to mind immediately like Jane Kell and Andrew Reid Wildman, whom I know I want to have in the collection and others I have to look in my bookmarked collection to remind myself of their names, and a few who present themselves to me as I look through the new art on the site.

 

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Snehal Page
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James Earley

I have largely gone with works that highlight colour and light such as Snehal Page’s vivid oil portraits and Sri Rao’s colorful landscapes.

There many artists’ who skill with the paint brush has me in awe especially people like James Earley and Abi Whitlock.

One hundred and fifty painting may seem like a lot but it isn’t. I want to include as many artists as I can with out the collection becoming too “bity”. So some artists get as many as 4 paintings but other only one. I am hoping that the choices I have made will tempt collectors to click on their names and take note and “follow” them or even better buy their work/s. I believe that art is about a conversation between the artists and the viewer.

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John Kerr

I say conversation, but I believe that good art provokes an emotional reaction in the viewer; whether it is joy at the remembrance of a summer’s day at the seaside, or empathy with the humanity in another’s face or posture.

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James Henry Johnston

 

 

As viewers we invest a lot of energy in choosing our favourites, we follow their progress and want them to do well. I am only the 5th artist (I think) who has been asked to put together a collection but I am hoping this a successful collection and other artists are asked to do the same thing.

If you wish to view the whole collection, you can see it here

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Part of my collection
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Another selection