Total Art Soul - for artists

If you’ve ever been in Africa on a hot afternoon when the smouldering sun is intent on roasting anything which is stupid enough to be found exposed on the dry cracked hot plate of soil, then you will know what the intense heat of such an afternoon can do to an artist’s imagination. One of my favourite things to do on days when all sane individuals have retired to the cool shade of veranda’s and trees, is to brave the scorching heat and to walk into the veld.  Once alone I locate a small hill which will afford me an open view of a valley. From such a vantage point I can see miles across the swimming and dancing landscapes as the afternoon heat brings mirages and illusions of cool water flowing across the thirsty scene.

Once out of the stinging view of the sun, the hot shade of a Mimosa tree allows me to relax and enjoy the silence of the African bush.  It is a silence like no other and at first one could be excused for thinking that you have lost your hearing in the thick silence. It is like having a pillow over your head and just as you are about to click your fingers to reassure yourself that you have not lost your hearing suddenly some flying insect races past. Its sound passes, in stereo, first from one ear, then past your face and onto the next, punctuating the silence with its buzz. As you sit and wait, slowly your ears become accustomed to the soundtrack which accompanies the scene and you begin to hear the bush as if for the first time, the scene ushered in on an overture of sound from screeching cicada beetles.

To those who are familiar with the bush this will not be a new experience and will be one which is almost taken for granted.  For me who has had his ears anaesthetised by the white noise of the city however this is like regaining consciousness after surgery. The sounds of the hot afternoon begin to penetrate my memory banks of sounds deposited from the years I was raised in Africa.

I have never found it easy to paint in the outdoors; perhaps it’s the uncertain and disorderly nature of painting away from the familiar and ordered character of my studio that I find hard. Painting with watercolour under these conditions is difficult as the heat dries out the paper and pigment very fast, adding another layer of complexity to the process. On these occasions I rely on my camera, lenses and an ability to compile a scene which I will enjoy painting on my return to my little studio. During the long cold and damp months of an English winter, painting scenes like these will bring with them the warm memories and sounds of a hot afternoon in the veld. The contrast of colours are inspiring; from the vermillion orange of the aloe flowers to the duck-egg blue of the sky and from the rich browns and khaki shades of the grass to the deep greens of the mimosa trees.

The memory of this view and the small outcrop of iron stone boulders and shady mimosa trees will serve as the canvas on which I will paint the narrative of an afternoon spent in the company of these five lovely ladies the “red heads” of Harrison Farm.

Although I have many photographs of similar scenes I have used this lovely photo taken by my good friend and owner of Harriosn Farm & Harrison Hope Wine Estate, Ronnie Vehorn &  The Traveling Writer

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One could be forgiven for thinking that the tiny studio on Tuckton Road Christchurch might not have enough exhibition space to be taken seriously, but that would be a mistake.  True, there is not a lot of space and if you wanted to swing a cat around this would not be your first choice of location. As a studio-cum-gallery however all the available wall space is occupied with landscapes, portraits of movie stars and animal portraits, the products of many, many hours of dedicated and focused work.

Rod Pease was introduced to brushes and paints in 1970 at the age of twelve when his father presented him with a painters box set. While Rod,who attended art college at the age of sixteen and seventeen wanted to paint, his father wanted him to have a "real job". So it was that he entered the world of employment as an apprentice tool-maker,  a very technical and precise trade, now a quality which is reflected in much of his work today.

Rod, who also lived in the Netherlands for some time was able to have one-to-one tuition while living in Almelo, a town of approximately 72 000 people. It was only in May of this year, 2011, that Rod finally made the transition from tool-maker to full-time artist. Since then he has spent all his time behind the large shop window from where he can be seen from the street, painting at of his easel.

I spotted the little studio some months back and, ever curious and keen to meet a fellow artist, I turned the door knob one Saturday morning and introduced myself. Rod, who is of sight build and keen eye is a friendly and very helpful chap and I can guarantee that you will always find him ready to welcome you and open to talk about his work.

Rod has a very distinct style and gives great attention to detail.  This I assume is a trait he developed  from years of work machining items and components of incredibly accurate proportions and measurement. While I consider a tape measure with millimeters to be accurate, Rod's choice of measuring tool would be a micrometer, parameters too tight for an impressionists brush such as mine.

In the studio you will discover a mix of subjects, landscapes, portraits, figurative works and animal portraits, each painted with care and flair, capturing atmosphere and character alike. I am particularly struck by Rods use of colour, especially in his more dramatic sunsets. Rod's palate is a colourful one but his mixing and use of colours remains true to the scenes he paints. There is a lovely naive richness about his application of colour, a richness which would throw some artists onto a panic. Rod however captures his subjects with a optimistic eye and a warm blend of colour; the more I see his work the more I like it.

Rod is also a member of "the Hub", a group of local artists who meet regularly and who are seeking greater local and trans-local recognition. He is a member of the Bournemouth Chamber of Trade and Commerce and has a strong belief in local businesses and the  role it plays in sustaining the area's character and prosperity.

If you are passing by and Rod is in, why not pop in for a visit, view his work and be inspired. Better sill, why not take a piece of his work home, you will find Rob's art well priced and affordable. There is simply nothing as good as an original work on your wall, l especially when you know the artist.

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Generally I keep Friday’s open for local issues, appointments and opportunities to meet with interesting and creative people. This was one of my goals for 2011; to spend more time doing the things I love the most. Fridays have become my reading, writing, painting and meeting day and my diary pages are reflecting that, so far, I am on track. 

Last Friday I pencilled in a coffee date with Paul Stillwell a portrait artist who works out of his home studio in Poole Dorset. A mutual friend Bob Chivers, an architect and artist living in Hampshire, had introduced me to Paul’s work. At 10am promptly I rang the doorbell to Paul's apartment and was rewarded by the buzz of the security lock and the gate swinging open. A warm handshake and a smile greeted me at the door to the apartment and soon the kettle was boiling and tea was being poured.

Paul is a quietly spoken man with a gentle spirit and a soft manner. He is laid back as you would generally expect from a creative mind but with a sharp twinkle in his eye and a good sense of humour. It was not too long before we were talking about his work, his life and the adventures that the love he has for his work has embarked him on.

The walls of his studio apartment are hung with what Paul calls his “best pieces”, portraits of celebrities, each signed by the celb and a few with a short message. I was immediately struck by the relationship Paul has with each portrait and the way he enjoys reliving the experience of painting the piece and the associated journey to get it signed.

Paul related a number of stories about the obstacles he encounters getting within range of a celb and the of the smoke and mirror tactics he has had to employ to connect with the person. To say that he has the tenacity of a British Bulldog is an understatement, travelling great distances, standing around for hours, dealing with the celebrity security cordons and over protective publicists are only a few of the hurdles he had to clear.

Paul’s rewards for his tenacity and commitment have however paid off and on the walls hang the signed portraits of Robert De Nero, Al Pacino, Jennifer Lopez, Johnny Depp, to name a few and I believe, his greatest achievement, the Dali Lama. These are more than simply signed portraits, they are milestones, milestones which are an important part of Paul’s personal journey, not only as an artist but also as someone exploring the spiritual nature and relationship between an artist and a subject.

I view and engage with a great many artists and their work but have always had a special regard for portrait artists. Having attempted portrait painting on several occasions myself and having downed my brushes in unfulfilled frustration, I was able to really appreciate Paul’s work. The one great quality of his work, which was immediately obvious to me, is Paul’s ability to capture “the attitude” of his subjects. Paul spoke of how the portrait of Robert De Nero defied his attempts to capture Mr De Nero’s subtle and almost secretive nature. After much effort Paul had one of those “eureka moments” when suddenly, after a few small brush strokes to the subtle curve in the subjects mouth, there before his eyes, emerged the depth he needed to capture the spirit of the man.

Our visit could have lasted much longer but I had already taken up two hours of Paul’s day. We had covered so many topics in our time together; painting, people and the nature of our journeys as artists. We had touched on the practical, the material and the spiritual. We had spoken about the demands that creativity makes on our lives and the price we willingly pay to honour the call to expression. We spoke about the commercial value of Paul’s work and his road to recognition as a popular artist. We discussed successful marketing and the compromises an artist has to consider in the quest for commercial retail status. Paul currently exhibits his work in galleries and has held a few small exhibitions that have produced a number of commissions.

As we shook hands and I departed from Paul, his studio apartment and the company of his portraits, I couldn’t help feeling like I had got to know all three in a rather profound and special way.  I intend to keep a close eye on Paul and his work and look forward to another inspiring Friday’s visit to this gifted young man and his inspiring work and ongoing story.

 

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