Artist on Artist Interview with Paul Batch.

Today it gives me great pleasure in presenting landscape and portrait painter, Paul Batch, to the Artist on Artist Interview project. 

Paul Batch is another artist who I discovered through vast artist community of Facebook. His dreamlike tonal landscapes with a splash of colour are what first caught my attention. The purposeful lack of detail and the subtle quality the 'artist's hand' in his wonderful handling of the paint in both his landscapes and portraits is what I found appealing. He carries over the dreamlike quality with his sense of light in his portrait paintings which in contrast to his landscapes have more refined details, given their inherent nature of being portraits. 

And now without any further adieu here is Paul Batch's interview along with selected works. 

Artist on Artist Interview with Paul Batch 

Polly - Hi Paul!! And welcome to the AoA Interview project! It's a pleasure to have you here with us today!! Ok, let's get started ... would you mind giving us a little background about yourself and your world perhaps; where are you from, where are you living now, that kind of thing, etc? 

Paul - Hi Polly thanks for having me here on AOA. Like most artists I've always loved to draw. I liked comic books as a kid and would copy my favorite super heroes, drew cars I thought were cool and other important things like that. As I got a little older I thought I might be able to get a gig drawing Spider-Man. I also did horrible in all of my academic classes in school so letting me go to art school was kind of the only option my parents had. 

 I ended up going to Hartford Art School because it was about an hour or so away from my folks in MA. Far enough away so I could do my own thing but not to far in case I needed a hug. When I got to art school I think a few months in there was a faculty exhibit. This is when I came face to face with my first Stephen Brown self portrait. It blew me away. I had never connected with another human being before like this. I didn't know Stephen at the time, and it would be another year or two before I would begin studying with him but I knew right then that this is what I wanted to do. I wanted to try and create something that could move people like this. 

 I have to add in here that my Dad and many people in my family, on both sides, are deaf. I grew up using sign language at home and I think that this visual language has played an important part of my need to express myself visually. 

 So with this need to express myself visually, and this incredible experience with Stephen Brown's self portrait I decided to become a painter. 

'Through the Mist'. 24" x 30". Oil on Canvas.

Polly - I would say your ability to translate light into the visual is fluent! And since you chose to become a painter, you work in oil(s) (correct?); what prompted you to choose working in oil(s) and would you mind telling us about your palette - what colours you use?, paints - preferred paint maker(s)?, mediums - if any and why?, and materials - canvas or panel, both? Etc. 

Paul - I paint with oils because they look better than the other mediums. The only other medium I like is egg tempera but I haven't given myself enough time to work with that since I was in school. My "everyday" palette consists of ...

Titanium White- Gamblin 
Flake white replacement- Gamblin 
Ochre- Old Holland 
Transparent Red oxide- Grumbacher 
Cadmium Yellow Light- Gamblin 
Cadmium Orange Yellow- Old Holland 
Alizarin Crimson- Michael Harding's 
Pthalo Green- Gamblin 
Ultramarine Blue- Gamblin 
Mars black- Gamblin 

 I use this palette primarily out of habit, I've been using it for years and I'm comfortable with it. I'll add more colors as needed and whatever is in the tube that's close to the color I need is the winner. It took me a long time to unlearn that it's ok to use black and you don't have to mix yellow and blue to make green when you can just squirt some out of a tube. 

 As for a medium started using Gamblins Neo-meglip about a year ago and I love it. Before that I used liquin...lots and lots of liquin. Again I've messed around with all kinds of different mixtures but at the end of the day I just want to paint. If I can just dump some stuff out and it's good to go, then that's what I'm gonna use. 

 For surfaces I use both MDF and birch panels. I get them from Home Depot, chop them up in the garage and then gesso them. I still use canvas for larger pieces but will be trying out Dibond soon. I prefer working on a hard smooth surface. 

Paul Batch's palette.

Polly - Can you tell us what your studio space is like? Is it at home or, do you rent a space? It is large or, small? What kind of lighting do you prefer? What kind of easel you do use? Etc. 

Paul - Someday I'll have an actual studio space in my home. For now I keep small works in progress over my kitchen cabinets and pull those down to work on those in the evenings when the kids go to bed. I use a small table top easel on the kitchen table. Larger works are done in the garage on an easel I "borrowed" from college on the last day of classes. (Ssshhhh don't tell anyone.) For those larger works in the garage I have to coordinate a "daddy work day" with my wife so I can I can make sure I have a good chunk of time to paint. I have 5k flood lights in the kitchen and garage to try and get things close to daylight but there's still room for improvement. The bright lights also help keep me up all night ;). 

 I've also added a Thursday night portrait sketch group to my schedule which is great. I've able to get some plein-air done when we go out to parks or lakes as a family. My paints and set up are fairly small and mobile so I'm able to bounce around a lot.  

A work-in-progress in Paul's working studio space.  

Polly - I admire your dedication to your craft! You recently had a rather big milestone in your painting career as being a finalist in the Portrait Society of America Competition (a big Congratulations to you by the way!). Can you tell us a little bit about that whole experience; what it is was like, how it happened, what you did to prepare for it, and what kind of impact do you think it has had your art?

Paul - The Portrait Society of America competition has been a great thing. I actually got in for the first time last year. I went to the conference and got to see all these great artists and was so honored to be included with that group. I honestly felt like my getting in was a fluke thing and since I got in with a drawing I just figured that not many people entered drawings. 

 The piece that got in this year was a painting of my friend Nick. I had done some other portraits but I knew he would make for one that had a chance of going back to the PSOA. Firstly I love painting black people, I don't know if you can see it in the picture but the colors that you are able to use in the flesh tones are so exciting. When you see it in person there's a bunch of orange, purple, turquoise and reds. It really was a joy to paint. Plus he's got cool hair which was fun to play with. The fact that I got in a second time, for me, really validated that last year wasn't a fluke and I earned to be in the group. 

 Since I do portraits pretty much for myself it's really nice to be recognized on such a high level. The only impact I think it's had on my art is that I have to remember to do whatever I want. It might sound silly or egotistical but I have to do what I want, what I'm passionate about. Most of the times when I concern myself about whether or not something will sell or things like that the work tends to be quite mediocre. I'm actually quite happy where I am right now creatively and as always looking forward to the next painting.

'Nick Campbell'. 18" x 18". Oil on Panel.

Polly - That's wonderful attitude to have and I agree with you; painting what you want makes for better art! I'm curious (as are most people about artists); Are you able to be a 'full time' artist in that you are able to make a living with your art or, do you have a secondary job as a form of support for living? And if so, what is it that you do and how do you balance out your creative time? 

 Paul - It's a very popular question. I always answer it by first saying that my wife has a real job. I quit my day job two years ago when we started having children. The first six months without that steady income were scary as hell. My wife and I went from two people who were living quite comfortably to three people depending on one income. It was and continues to be a challenge. 

 Since I left my day job I have tried to earn the same while staying at home, and working less hours. (A couple of kids to watch surprisingly takes up a lot of time ;). The first year was tough, the second year was worse and this year I should beat my former salary. Can it be done? Sure. Is it easy? No. 

 When my wife and I first started dating I was flat broke. I had a good job but I was way upside down in a house and things were just financially messed up for me. Occasionally people would want to commission a portrait or some kind of painting and offer me fifty or a hundred bucks. My wife would see me politely decline these kinds of offers and she eventually was like "you didn't have enough money for lunch today! Why aren't you doing things that can earn you money?" I told her that if I do that for fifty bucks, then it's worth...fifty bucks. I told her it was worth way more than that and we'd just have to wait. Fast forward to today and now she's complaining I'm not charging enough and selling myself short. (Lol) In all seriousness though without her love, understanding and support I wouldn't be having the success I've been having lately. 

'Day Break'. 24" x 36". Oil on Canvas.

Polly - Can you tell us about your influences and inspirations; perhaps some of your favourite artists and why? 

Paul - I've made an honest effort the last couple of years to look at less art and look more at my life and the world around me. I still look at way more art than I should but I can't help it. Looking at other artists is great and there's a lot to be learned but the temptation to mimic, copy and steal is just to great. I'll still look to the past when I come across problems in my work; I mean there's no need to reinvent the wheel every time a problem arises, but I'm trying very hard to be honest and sincere in each and every painting I do. 

 As far as artists I like to look to for help. Here's my top ten in no particular order. (This list is subject to change.) 

1. Stephen Brown [*]
2. Rembrandt 
3. Anslem Kiefer 
4. Winslow Homer 
5. Scott Prior 
6. Gregory Gillespie 
7. John Frederick Kensett 
8. Turner (especially the nocturnes) 
9. Charles Warren Eaton 
10. Donald Jurney

Stephen Brown. Self-Portrait. Oil. [*]

Polly - Indeed, in today's world especially with social media at our finger tips, it's difficult not to see more art on a daily basis and I completely understand your sentiments. Though, if you could apprentice with any artist dead or alive, who would it be and why?

Paul - I wouldn't make a very good apprentice. I don't like stretching canvas all that much and when I do I sure as hell wouldn't want someone else to paint on it. 

Self-Portrait at 24. 20" x 24". Oil on Canvas.
(Paul is 36 years old presently)

Polly - In your own words, how would you describe your style of painting? 

Paul - I'm somewhere on the realistic side of the spectrum.

'Breaking Light'. 8" x 8". Oil on Panel.

Polly - If you could your hand at another medium or genre what would it be and why?

Paul - I'd like to restore old cars. I don't know how but I think I could get into it. My dad worked in auto body most of his life and I just think it would be cool. I'm either changing diapers or expressing myself through paint most of the time, it'd be a nice change of pace to go work in the garage for a bit.

'Waleska'. 18" x 24". Charcoal and Pastel on Paper.

Polly - Earlier you indicated that you face the challenge of depending on one income; I'm curious what other challenges do you face as an artist and what your thoughts on being an artist?

Paul - Oh going from two steady incomes to one was just crazy. I've got a wife who really believes in me. She gave me a great gift by letting me quit my day job and just go for it. I hope some day to be able to return the favor. (She loves her job and would still work anyway... but probably not as often.) 

My biggest challenge as an artist is making better paintings. 

'Beckon'. 9" x 4". Oil on Panel.

Polly - Tell us what's happening in your studio now; are you working towards a show or on any interesting projects? 

Paul - What's happening now? I'm working on making some larger versions of some of my tiny seascapes. I'm trying to get in as much plein-air and portrait sketching as possible, which isn't as much as I'd like. I'm also teetering with the idea of doing a large double portrait of my kids out in the backyard. Not sure how I want to approach that one.

'Paul Mitchell'. 18" x 24". Charcoal on Paper.

Polly - Changing topics ... This is a question I ask all the artists I interview; if you could spend the day with one person, dead or alive, famous or not, who would it be and why?  

Paul - I'd grab an extra day with my dad. He passed before my kids were born so I'd like him to meet his grand kids. He'd probably take the opportunity to smack me for quitting my day job and tell me that I need to call my mom more. He was a great dad, his time here was just to short. 



Polly - In your professional opinion, what do you think constitutes as a good piece of art? 

Paul - For me a good piece of art is something that moves you, touches you inside and the less you can explain why is probably better.  

'Kerri (in warm light)'. 16" x 10". Oil on Panel.

Polly - Would you mind sharing something about yourself that most people don't know about you?

Paul -I hate blueberries but I like blueberry muffins.

'The Last Pines'. 30" x 30". Oil on Canvas.

Polly - HA! That's funny you hate blueberries but like blueberry muffins. Well, thank you so much Paul for this wonderful interview ... as we close out do you have any final thoughts you'd like to say about you and or your art, any wisdom you may have to offer to young, and aspiring artists? 

Paul - Best advice I was given in school..."Keep painting, life is hard and you have to figure out a way to live and keep painting."

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Polly - That's wonderful advice and please allow me to wish you the best with your art and your artistic journey!

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To learn more about Paul Batch and his art please visit his website, blog, and Instagram ...

Website: www.paulbatchpainting.com
Blog: paulbatchpainting.blogspot.com
Instagram: paulbatch

Artist on Artist Interview with Diane Brown

Today it gives me pleasure to feature expressionist artist, Diane Brown, for this month's Artist on Artist interview.

Sometime ago, Brown's work caught my eye on Facebook for its organic and abstract expressionist qualities. Her work and approach is in every way organic and natural, in that she creates works that are water based and that are reminiscent to the raw nature of the Earth and its elements. At times her work can look soft like fabric and then hard like stone. Her work has a great range of perspective in that it can seem like it's a view from the high up overviews of the Earth, to the intimate tranquil motion of a fresh water stream, to the excitement of lapping waves at the shore, and to the deep cool dark caverns of the Earth. Her colourful work has a fluid movement that is both pleasing and exciting to the eye and spirit. Brown's work has been garnering recognition in the Southeastern Connecticut region and soon to be much farther reaching. 

And now without any further adieu here is Diane Brown's full interview along with selected works.

Please enjoy and feel free to leave a comment below.

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Artist on Artist Interview with Diane Brown.

The Artist.

Polly - Hello Diane! Thank you for being part of the AoA Interview project, it is a pleasure to have you here and talk about your art with us today! Ok, let's get started .... firstly, how are you doing today and could you give us a little introduction about yourself, where you're from, living now, etc?

Diane - Let's see now. Having just returned from vacation in Cancun, I think I'm doing pretty well today. I have some color and that always makes me feel more alive. Some information about me. I'm grew up in Hicksville, New York but have lived in NJ, CT, RI and Me. As a little girl, I always wanted to paint trees. I did then and do now find trees to be astoundingly beautiful. While in Jr. High my dad bought me some art supplies and away I went. He hung my work in our finished basement with pride. In New England for over 40 years now, I really began my painting experiences while living in Ellsworth, Maine at the age of forty something. I was given a William Alexander beginners paint kit for Christmas and that was how I began. I painted on a rickety old tripod...one hand holding the tripod and a brush in the other hand. I started showing my things in outdoor shows in Bangor and Bar Harbor. I moved back to the Westerly area from Maine but was too busy making ends meet to paint. I didn't paint for over 10 years. I began again by taking lessons with Robert Kozora and he shared his knowledge with me. At this point in time I was an oil painter producing still life and ultimately my love of seascapes,sea grasses and dunes came to be. I stopped my lessons because I wanted to try to get my work into art shows and painting under someone's instruction wasn't permitted. I was impatient because I had do much more to learn. I've been a juried member of The Artists' Cooperative Gallery of Westerly for almost 12 years and am an Elected Artist at The Mystic Art Center. (Acceptance into MAC was as an oil painter/photographer.) I'm also a new member of The Wickford Art Association. I enjoy my life in Pawcatuck, CT with my husband Bill and our two dogs. We enjoy traveling and the company of our two granddaughters, Chloe and Sasha often. I also enjoy kayaking, dancing, gardening, playing cards and trying to keep fit. that last part isn't working as well as I had hoped.  

'In Motion Series' 
30" x 40". Inks and Acrylics on Artist Board. 2013-14. 

Polly - Could you describe for us, your earliest memories of when you realised you were an artist and how you discovered your affinity for painting?

Diane - One morning after spending a great deal of time on my last oil painting, I decided I needed to try something new. I wasn't certain just what that was going to be, but I knew I wanted a "new found freedom" to use bold colors. A friend suggested I purchase a book by Maxine Masterfield entitled: In Harmony with Nature...Painting Techniques for a New Age. Well, let me tell you I was so excited with her work, I ran out and purchased everything I could possibly find and then stood in my studio trying to figure out what to do with all this stuff. I just began pouring inks and acrylics on watercolor paper and yupo paper. Paint and inks moved in all directions and created their own wonderful designs. I didn't want to make anything identifiable I wanted to show movement. I believe that's what my work is all about at this point. People love to find things in more abstract work. I'm not certain why they must do that, but it's amazing how many different things they see. I'm having great fun right now...more fun then I've had in years. I have so much more to learn and will be trying to figure out where to take lessons to bring me to my next step. I feel like a child in a candy shop at this point in time. I couldn't have more fun than I'm having right now.  

 'In Motion Series'
18" x 24". Ink, Acrylic, and Gel Pen. 2013-14.

Polly - Your work certainly has movement in it; I'm curious how do you motivate yourself in creating your work?, Do you work with how you're feeling at the moment?

Diane - I don't go in search of ideas, I let them find me.

'In Motion Series'
Acrylics and Gel Pen. 2013-14.

'In Motion Series' 
Grays, Blacks and Bronzes. 24" x 36". Poured Inks.  

Polly - Can you tell us about your influences and inspirations; perhaps some of your favorite artists and why? 

Diane - I'm inspired by today's fashion and designs that encompass crazy prints with great mixes of colors. 

Artist, Gray Jacobik's incredible en-caustic work starts my juices flowing. Her process allows more control over the flow of colors which really interests me. Actually makes me want to run out and get all the goodies needed for the en-caustic process. Pollack also fascinates me as he does the masses. It's all about movement for me.

'In Motion Series'
Acrylics and Gel Pen on Artist Board. 2013-14.

Polly - That's so interesting, your work does resemble the fluidity of fabric. Can you tell us a little bit about your process and what your studio space is like? 

Diane - I have a wonderful studio, very comfortable thanks to my gas heater and/or air conditioner. It also has a sitting area for guests to view my work. I have two great tables that I work on. I put my yupo paper flat on my tables and spray the paper with water. I wipe it down with paper towels once the paper is saturated. Having chosen the colors I'm going to us, I fill pipettes with my inks or acrylics and go to work making them run into one another with the aide of more water. It's fun watching colors collide and designs appear. It's a simple process with a large impact on the paper. I also use salt, sand, wax paper, among other reliefs within my work.

Work table station in Brown's studio space. 

Sectional view of Brown's studio space. 

Polly - While you're working your magic on the paper, I'm curious do you listen to music while you create, and if so what tunes might we expect to hear? 

Diane - While working I listen to Kenny G, Kim Wilson, Etta James...I'm a blues girl. I might even break from my work to dance with a chair. 

'In Motion Series'
Poured Inks on Yupo Paper. 2013-14.

Polly - I can just see you breaking out into some dance moves in your studio! If you could apprentice with any artist dead or alive, who would it be and why?

Diane - Prior to working with inks and acrylics, I read two books by Maxine Masterfield. She's a remarkable artist who creates pieces of art that just blow my mind. She's the person I was trying to emulate, but my work never looked anything like hers. So, if I ever had an opportunity to apprentice with someone in my lifetime, it would be Maxine Masterfield.

'Full Gallop'

2013-14.

'Reflections'

18" x 24". Poured Inks and Acrylics. 

Polly -Tell us what your thoughts are on being an artist and what has been the most challenging thing?

Diane - I have so many thoughts on being an "artist". I've had time to look around me at all the accomplished artists I have come to know and to wonder where I fit in. As someone once said to me ... art is something different to every person. "If they like what you do ... be thankful and continue on." I've had fun pursuing my dreams of being an artist and I look forward to the next stage of my work. 

'Coming Undone'
2013-14.

Polly - Who has been your greatest support?

Diane - Thanks to my Dad's encouragement when I was a very young woman and to my husband I have so enjoyed pursuing my dreams of being an artist.  

'In Motion Series' 
24" x 36".  Poured Inks. 2013-14.  

Polly - Do you have any interesting projects, or shows you're currently working on in your studio? 

Diane - Well Polly, I've actually had an exciting two weeks. A design studio saw some of my work in West Hartford and contacted me about turning my work into printed fabrics. Fabrics for use in ski pants, skateboard clothing, exercise clothing etc. I visited with them last Friday and they purchased three of my works of art. I have a contract to review and sign and away we'll go with this new project. Very exciting. I'm also working on one piece for the Mystic Art Center's Elected Artist show in April. I'm also chairing a Regional Art Show at The Artists' Cooperative Gallery of Westerly slated to open on May 1st. I've been working on this since last August and look forward to a happy ending.

'Green Goddess'
12" x 14". Poured Inks. 

Polly - That's very exciting news indeed, congratulations! And speaking of accomplishments - what has been a defining moment for you as an artist and what would you like to accomplish with your art on a personal level?  

Diane - Although I still have questions about where I stand with my art, my most defining moment was when I won an award in a National Show at the Slater Museum in Norwich. This happened just last year and it was the biggest surprise I can ever remember. I got a call asking me to be present for the awards, but they didn't say what I'd won. I honestly thought an Honorable Mention...which would have been great by me. When I opened the program and saw that I'd taken 2nd place, I let out a loud "YIPEEE" and my husband came running. We were both so excited. The juror said, "she liked my bold approach to art". I don't think I could wish for much more at this point in time. I'm content to have won two "People's Choice Awards" over the years, to have become an Elected Artist after years of trying and to receive a 2nd place in a National Show. These moments might not be on a large scale to some, but they have made me very happy to be who I am, right here, right now. 

Sectional view of Brown's studio space.

Sectional view of Brown's studio space.

Polly - If you could try your hand at another medium, or genre (say perhaps classic sculpture or music, etc), what would it be and why? 

Diane - It would have been dance. In my bones, I believe that I was born to dance but never had the financial backing as a child to be trained. My Dad, a/k/a "Twinkle Toes" was a wonderful dancer who waltzed me around the dance floor at any wedding or party we attended. I could never get enough of joy dancing brought to me. As I grew up we danced our hearts out to Billy Joel who practiced in my church basement before he "made it big". We danced anywhere we could find the music. After moving to CT, I learned Zydeco and Cajun dances and had the time of my life making many friends along the way. Though today, I would love to play piano or violin or ... I guess I could go on and on.

'Frayed Edges'

18" x 24". Poured Inks.

'Carolyn's Garden'
18" x 24". Poured Acrylics.

Polly - Would you mind sharing something about yourself that most people don't know about you?

Diane - Most people are unaware that I raced canoes. I wanted to honor my 50th birthday (many years ago) in a special way and this idea came to mind. My partner and I began by paddling 4 mile races, then proceeded to 10 miles then onto the Charles River for a 19 mile race where we took 3rd place. I just kept building up to my last race which was a 70 mile endurance race down the Susquehanna River starting in Cooperstown, NY. There were 5 portages and I can tell you by the last one I was wondering if we'd ever make it back into the water. My goal was to do the race, not to place. It took 11:30 hours of padding to reach the end, but we did it.  

'Beneath the Surface'
18" x 24". Poured Inks.

Polly - Well, thank you so much Diane for this wonderful interview ... as we close out do you have any final thoughts you'd like to say about you and or your art, anymore wisdom you may have to offer to young, and aspiring artists?

Diane - I have a new found freedom with my newest work. My excitement carries me from the beginning to the end of my painting. I think the younger artists today have great confidence in what they create and the process they use. Perpetuate the joy and never lose sight of your value as an artist. 

I believe that's it. Thank you for all the time your have put into this conversation along with your commitment to me as an artist. I look forward to seeing the finished product. Again, thank you Polly for all your kindness. I look forward to our first meeting. Diane.

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Polly - And thank you Diane for this wonderful interview, it was such a pleasure working with you and getting to know more about you and your beautiful work! I wish you nothing but, the very best with your work and artistic career, may you have many hours of happy painting and more joyful moments celebrating your art!

Cheers, ~ Polly ~

Celebrate Spring!

'Celebrate Spring'

 Binoculars #195 - In the Lead.

20" x 72". Oil on Gessoed Sandeply Panel. 2015.

Copyright.

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It was a sweet scene of four young sailors that unfolded before me as I was out sailing with my family in Stonington Harbor (the land mass in the background is Napatree Point of Watch Hill, RI); the young sailors were learning how to prefect their sailing skills. It was a pleasure observing them as they maneuvered their assigned boats on the water, tacking their way back and forth across the harbor filling their sails with wind; at certain points it almost seemed as if they were jockeying and racing for the lead position, even though it was just a sailing lesson. And as they followed in the wake of the training boat, there were moments where their line up was rather reminiscent to that of how ducklings look as they follow their mother in the springtime.
 It was a most perfect day for being out on the water!

Binoculars #195 - In the Lead, is currently on display and available for sale at
Susan Powell Fine Art

The Night Shift #2 ...

Night Shift #2 - 2015.

11" x 30". Oil on Gesseoed Sandeply Panel. 2015.

Copyright.

Click here for inquiries on pricing and availability.

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One streetlamp.

One trailer.

One parking area.

All converge to make for a lonely 

and yet rather inviting scene. 

I would like to add that this

painting has been difficult

to photograph.

Please stay tuned for more 

what's new from the studio.

Cheers, ~ Polly ~  

Painting the Mystery of the Night ...

Night Shift #1 - 2015.

17 1/2" x 7 3/4". Oil on Gessoed Sandeply Panel. 2015.

Copyright.

Click here for inquiries on pricing and availability.

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10 years ago I started a night scene series of the town I live in of, Uncasville, CT. I enjoyed the series immensely because it was a new challenge for me and while it lasted, and for various reasons I abandoned the series shortly after it was started, for reasons I have since forgotten but, it was series that was never far from my mind and heart ... because while driving around town the series would always whisper to me saying ... 'Over here. Paint me!' ...

Those whispers were telling me 'Pull the Light out of the Dark'. It would tell me where to look; look at the contrast of values, look at the fantastical range of colours, look at the seemingly endless ideas for compositions, look at how you can use the paint itself, and it would tell me to feel the mysteriousness of the night - it all just pulled at my very being!

In my woodshop, I've had a number of varying sized rectangular cut-off panels around for a while, as I would pass by them, I would contemplate what to do with them, and then it struck me, the night scenes were no longer soft whispers but, almost screaming at me for attention! 

As I slowly rekindle this deep love and affection for night scenes ... I can feel its glorious power it's almost intoxicating, but at the same time it's opening my eyes to the magic and mysteriousness that is only found in the night ...

Please stay tuned for more what's new from the studio.

Cheers, ~ Polly ~