Jazz Green : Artist Journal

Posts tagged ‘coast’

on landscape photography

September 26th, 2011

these landscape photographs have all appeared in previous posts, from 2005-2010 (part of an ongoing recycle & reuse images whenever possible philosophy due to the sheer number of images accumulated). i decided to collate this small selection of photographs of the east anglian landscape in one ‘place’ as it were as a simple means of a personal review, having been lost & buried elsewhere in the ‘blog’. these photographs were all taken from a humble point ‘n’ shoot perspective. there is the old saying that a picture is worth a thousand words but here the apparent air of mundane detachment or plain objectivity contained therein means they are perhaps unworthy of many words…

suffolk fields, old airfield, passing place sign
[a field, a 'passing place' sign]

from previous post: passing places part ii may 2006

old airfield, overgrown by fields, suffolk
[edge of old airfield, with rubble]

from previous post: beware of banality december 2005

suffolk fields, old airfield, passing place sign
[old airfield track and fields, a misty winter morning]

from previous post: farmscape painting february 2010


[field, late afternoon]

from previous post: on vacant and empty landscapes april 2010


[stubble field in winter, with ground frost, norfolk]

from previous post: some secrets revealed november 2010

on a train, passing through the fens, winter fields
[fields, seen from a train, the fens, winter]

from previous post: passing places april 2006

[misty morning by the lake, winter]

from previous post: mist opportunties again may 2010


[early morning mist, reflection of trees in lake water]

from previous post: winter solstice december 2009


[high snow drift, a field, two trees and a farmhouse, winter]

from previous post: from white snow to grey earth january 2010


[snow on ground, meadows, ditch, late afternoon light, winter]

from previous post: walking, in winter, wander land december 2009


[hoarfrost on trees next to the lake]

from previous post: the art of making soup january 2009

winter field, misty morning
[field, early morning, winter]

from previous post: mist opportunities january 2010


[the north sea, a view from dunwich cliffs, suffolk]

from previous post: on vacant and empty landscapes april 2010


[covehithe cliffs, suffolk]

from previous post: on vacant and empty landscapes april 2010


[salthouse marshes, north norfolk]

from previous post: salthouse surveyed march 2009


[on southwold beach, the north sea]

from previous post: two pebbles, a drawing october 2009

i used to take quite a few landscape photographs but i have not been very inclined to do so in more recent times. these landscape photographs seem no more ‘vital’ to me now than having just a memory of the time, place or location to draw upon. perhaps it is just photography fatigue. not only does it become all to easy (with digital cameras) to take yet another photograph but one feels simultaneously guilty for not taking a photograph, for not framing the moment as witnessed there and then. then, much later, one wonders whether it should be kept or erased, whether it has any lasting use, significance or meaning.

from previous post: taking the scenic route april 2009

to swiftly conclude, here is a photograph (not really a ‘landscape’ per se) of a lone seagull on a roof in the pleasant seaside town of aldeburgh, suffolk – all appears to be quite innocent, peaceful and calm…

‘thinking should be done beforehand and afterwards, never while actually taking the photograph.’

henri cartier-bresson (as quoted in on photography, susan sontag)

on the lie of the land

September 20th, 2010

paper, crumpled, textures, sampled, or forms, exampled… some arty photographs, in the slow build-up to creating something new… (all in good time; soon enough…)
crumpled paper - sculptural art
this looks like a decaying leaf…

crumpled paper in the studio
as does this…

crumpled paper photographed in the studio
a craggy rockscape or a crevasse…

crumpled paper yet again - experiments in the studio
another rocky, barren landscape, one that looks mildy familiar…

antarctica drawing - sketchbook
from my antarctica sketchbook, june 2010

you can see more of my antarctica sketches here, when, despite that fact it was early june and the start of the summer, i spent some time out in a virtual, cold wilderness…

there are many landscape painters in this region, and it is perhaps no surprise that the east anglian landscape should be interpreted in the main quite realistically, representationally – conveying an appealing impression of ‘being there’ for the viewers, more than the artist’s individual experience. i find it difficult to adequately quantify why some works engage and draw one in and other works fail to – whether success or failure is just down to style and technique – or whether the truth of the matter is – are they being honest or playing along with the lie of the land?

an artist friend asked the other day if i knew of the work of michael porter – no, i didn’t – but on visiting his website i was very surprised to discover that he paints a little like me, or perhaps, i paint a little like him – but there are more figurative elements applied to the shifting, textural grounds of his large canvas paintings. the colours of a autumnal leaf, a river’s surface with its underlying pattern of vegetation, old woodlands, craggy rocks and found pebbles are just some of his visual influences – all interpreted in a very organic and sensory manner… i could see the connection to my very own lichenscapes… i found the visual contrast of a freely-worked surface with very finely worked botanical details quite mesmerising (at least, as seen from the photographs)…

michael porter’s large studio in cornwall… jealous, moi??

For many years I have described what I do as ‘making’ paintings rather than ‘painting’ paintings, even though the materials I use normally conform to those used by traditional artists, What I attempt to do is use the natural characteristics of paint itself as a means of describing nature.  For me, creating a painting is not simply a mechanical process. Like the land itself, it is something you sense – through your feet, your hands and your eyes.

Michael Porter, interviewed by Peta-Jane Field, Art in Cornwall

he puts it very well, what it means to translate an experience into a painting. it becomes something akin to but independent of its source. paint & canvas is the vehicle, the surface is the transmitter, the subject reveals a message, the gaze is the confirmation and response becomes its meaning… it seems somewhat fortuitous to have discovered porter’s work for it has affirmed to me that it is still good to make paintings, to manipulate the material of paint, to use the transformative qualities of paint to create illusions, sensory surfaces, a surface that is alive, that contains depth & intricacy… he also reminds me that one has to look, to experience and then to paint for many years to refine one’s ideas and processes… trust your instinct, be truthful and then just do the work…

there is an interesting discussion going on over at the guardian website regarding the threadneedle art prize – the perennial representational art versus conceptual art debate, good art, bad art, skills, or no skills, etc… no shocks or surprises perhaps, a photo-realist painting by boyd & evans won the top prize and most of the other works look quite ordinary on the threadneedle website, but perhaps you really have to be there…

in the run up to the artworks exhibition, there seemed to have been lots of practical, day-to-day, non-art issues to deal with … but i did grab a peaceful hour or so on a very pebbled beach… some quick sketches in pencil, acrylic and watercolour…

coast sketchbooks - dunwich beach drawings
sketchbooks at the coast…

i think i need to retreat a little (in blogospheric terms) until after the demonstration of ‘painting without brushes’ next week at the artworks exhibition – except that i do, very occasionally, also use traditional paint brushes… and yes, this really is the artist hard at work on those lichenscape paintings

jazz green - artist studio - lichenscape paintings

i am currently exhibiting two new large paintings, lichenscape I & II and a series of small works, aka the mouldscapes, at the 11th annual artworks exhibition at blackthorpe barn, 11 September to 3 October 2010, it’s open daily 10am – 5pm…

until the next time…

I finished and framed the painting Fenn earlier this week… it will be exhibited in the HWAT showcase exhibition for the duration of April 2010…


[Edgescape: fenn, mixed media on canvas, 90cm x 90xm, 2008-2010]

I added a few more glazes over the lower section of the canvas to get a more of a dappled, yellowy-green, and the top section is a purplish-reddish dark brown.. I got a bit obssessed with the degree of merging – which explains edgescapes as the series title for these large works…

Fenn as a title (archaic spelling), I hope is quite self-explanatory, alluding to a marshy, often flooded landscape – which, prior to the 17th century when much of the low-lying land was irrigated for agriculture, is what parts of the East Anglian landscape would have been like. This painting (fenn) is more of a sensory response than a depiction; partly landscape in an implied horizon line, but also a surface magnified… I can’t do these large paintings quickly (I started this one in September 2008, about two weeks before it was needed for an exhibition) – it seems vital for them to mature over time…

Note to self: the poet John Clare lived in (or perhaps just wandered through) the deepest part of the fens… a landscape that stirs up the metaphysical mind…

For a morning respite from all things art, I pottered about in the garden and soon spied this little fellow, a blackbird in the willow tree… a composition most pleasingly serendipitous in its contrast of colours (echoing fenn) – and the wriggling worm in the blackbird’s beak is further echoed in the curls of the willow branch… he was waiting to make a safe return to the nest…

The male blackbird was taking it in turns with his female mate to gather worms for their hungry offspring. They had decided to make their nest in a large, tangled pile of recently pruned clematis and so I was unable to get on with clearing the area – so I temporarily sectioned it off with some chicken wire fencing…

I also spent a lovely afternoon out at the coast with an artist friend – both of us are avid beachcombers and find lots of creative inspiration there. I found all of these purple-hued pebbles, which I placed on an algae-covered piece of wood to photograph my hoard, which glowed more pink in the late afternoon sun…

I also liked the contrasting textures in this dense, spikey thicket of red-brown bushes with the soft beige grasses – serving a purpose in reducing the impact of wind erosion on this exposed part of the coast…

and these trees, in a nearby wood, looked almost petrifed

I feel quite lucky to be less than thirty minutes from this stretch of the coast…

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The website of British Fine Artist Jazz Green MA RCA. Abstract landscape paintings, fine art photography. All images and text copyright the artist.