Mercurial light in winter …

Workbook collage with gelli plate printed papers. © Mari French 2023.

It’s been a year of ups and downs, stresses and a few successes, plus a lovely new studio which has been a lifeline for my work. So, apologies to my readers for such a gap in posts, but I’m back now and progressing a ‘new’ series of work (and a few exhibitions to work towards next year). I qualify ‘new’ because while this work is still related to my ongoing obsession with the saltmarsh coast, it feels different, deeper.

Saltmarsh and creek near Boston, Lincolnshire. Photo by Mari French 2023.

The emphasis in this current work is on tidal creeks, snaking through the marsh, mercurial light reflecting the huge overhead skies; the dark mudflats around them. I recently visited the saltmarshes near Leiston Shore on the East Lincolnshire coast, across the wide expanse of the Wash from North Norfolk. The visit gave me a different perspective, and I also learned a bit more about this unique landscape habitat through the work of photographer Steve Thornton. His project ‘Invisible Carbon’ has produced many sublime dramatic photographs of the Lincolnshire saltmarshes and the accompanying text reveals much about the worth of these unique landscapes as a hugely valuable ecosystem in the fight against global warming. You can read more on his work here.

Detail from new series of work in progress on cradled panel.
© Mari French 2023.

In developing this series of work my palette has become more subdued: warm umbers, soft blue-greys, indigo, a touch of pinkish siennas. I love the subtlety and it works well with the subject matter. I’m enjoying working on smooth cradled wood panels, altering them with brushed gesso before painting on them. The resulting texture and subsequent application and removal of paint is producing interesting atmospheric effects.

Detail from new series of work on cradled panel. © Mari French 2023.

It has been productive spending time exploring the subject of tidal creeks and saltmarsh in my studio workbook, by creating collage papers with a gelli plate and assembling them; allowing experimentation with combinations of pattern, line and space and possible ways of referencing my experience of the subject. A few are included in this post.

Workbook collage with gelli printed papers. © Mari French 2023.

Workbook collage with gelli printed papers. © Mari French 2023.

Abstract work on the studio wall, prompted by creeks and saltmarsh.
© Mari French 2023.

I’m really enjoying pursuing this work and to seeing how it develops. I hope you’ve enjoyed the read and the images.

Saltmarsh and creek near Boston, Lincolnshire. Photo by Mari French 2023.

on the high moors 2: emerging images…

White Cross (mixed media on board) © Mari French 2018

Well, the recent trip to the high moors above Rosedale in the North York Moors I wrote about in my last post paid off inspiration-wise I’m pleased to report. If you haven’t seen that post you can read it here.

I’ve been on a bit of a roll since getting back in the studio – a new palette reflecting the stone, iron ore, soft purples and ochres of the late summer/early autumn moorland landscape of North Yorkshire. First came these small studies on paper, after checking through my photos and sketches:

Moors above Rosedale (study) © Mari French 2018

 

Moors above Rosedale (study) © Mari French 2018

Moors above Rosedale (study) © Mari French 2018

Then a few explorations in a more abstract graphic style of the distinctive medieval ‘wheelhead’ White Cross or ‘Fat Betty’ that sits up on the moorland at the crossroads of 3 parishes:

 

White Cross (mixed media) © Mari French 2018

White Cross (mixed media) © Mari French 2018

White Cross, early graffiti. © Mari French 2018

White Cross (Fat Betty) © Mari French 2018

White Cross (mixed media) © Mari French 2018

Eventually I allowed my subconscious to take over and without referring to any of these resources trusted to memory and instinct (the way I love to work!). I wanted a soft palette of green-greys, bruise-greys, and blue-greys with also a soft brick tone to reflect the outcrops of iron ore in the area. I often mixed these directly on the support itself. I tried 40x40cm canvas but found in this instance I was more happy working on watercolour board at a similar size.

Anyway, these works below (and top of this post) are what emerged. I’m very excited by them and enjoyed creating them so much. They’ve already aroused interest in two galleries. I’m pleased to report I’m taking these first three of this new series to a gallery in Sevenoaks, Kent at the end of September. Now looking forward to what else emerges in this series!

High moorland (mixed media on board) © Mari French 2018

Land of iron (mixed media on board) © Mari French 2018

 

at the easel …

I don’t believe I’ve posted this video of me working in my studio on this blog before. In it I’m working on one of the recent reedbeds paintings in the scrumptious new palette I mentioned in a recent post. Apologies for the less than ideal angle of the camera, I seem to be blocking a fair bit of the process, but hopefully you’ll see enough to get the idea.

I’m in the zone here, happily blending acrylic paint directly onto the support (in this case Daler Rowney line board). The sunshine in my mind from the first day of Spring seems to be emerging in the process!