Impressions of Life

'Connemara Cottages'

This painting was done about ten years ago!  I wanted to show the slow, but, determined progression in my work up till now -

if your an artist and understand painting, you will see the in-experience and lack of confidence in the earlier work.

Colour is one: if you look hard you will see the colour is ‘opaque’ looking and rather drab. I loved Connemara at that time. The openness of the rugged

landscape was so inspiring. It truly is beautiful countryside. With it’s craggy rocks and stone walls, it’s a real artists paradise. Today of course the landscape

there is changed, but, only a little. There’s a preservation order in many parts of Connemara, as building houses/cottages on it’s much in-demand land can’t be over stated.

Still with this - many cottages, are stunning on the landscape…(most, if not all, must be only cottages to specification standards).. showing their gable walls in the winter sunshine can be very beautiful and the terracotta roof tiles also. This i think resembles what i mean in the above painting in the low winter sunshine.

Here is an example of more loose sketches from my sketch pad: This one is from The Grand Canal, a really lovely spot for strolling or jogging.

It’s a haven for lovers walking hand in hand also. I love this place to death. Full of nature, mature tree’s, and water fowl which are great to keep you entertained on the many walkways along the canal.

. It’s well worth the visit for both artists & photographers alike. I’m happy with the figures in the sketch as there’s a summer feel about the whole sketch.

'The Grand Canal walk'

'Gable-ends Dun Laoghaire'

The ‘raw’ sketch you see above gives you an idea of how it’s more like a map than a sketch/painting. When i work, i’m really immersed in the act-in-hand. I’ve lots of notes scattered all over the page. I don’t do ‘clean art’. To me: sketches are the heart and soul of the artist. It’s sounds SO clichéd - but, it’s true.

'Enniskerry Road Kilternan'

Here is another example of simplicity. Why i show sketches on my blog a lot is i want to show the viewer how i work, the reality of the brushwork, the speed of the strokes..(you will see if you look at the simplification and ‘un-editing’ of the work) if i painted in a ‘perfect way’ I’d be lost - it wouldn’t represent me. I will up-load a ‘finished’..(studio final) watercolour/oil soon and it will show how the progression is reached. PS: The cerulean blue touch in the sky in above sketch is my favourite colour to me personally - it reminds me of  serenity and tenderness.

'The Ice Box Dun Laoire'

This is a painting done very recently. I was very happy with the out come of the colours in general. I like the splotch in the foreground water - it gives a sense of  truthfulness and speed in my work. This is the beauty of watercolour - anything can literally happen in an instant. I love the cloud formation that came out of the blue…(excuse the pun). These qualities form the beauty of watercolour at it’s very best.

'Overcast ofternoon at the 'Ice Box'

You may ask: “Why is he always painting the ‘Ice Box’, well for one, it’s full of activity and life. The colours of the trawlers and the freshness of the sea breeze on your face - nothing like it. I love to walk there too. So, i guess i ‘kill two birds with the one stone’..so to speak!

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This is a watercolour i did not so long ago. I put in the excavator to show some ‘reality’ in to the painting. I was happy with the red roof to the extreme right of the sketch.  The cast shadow on the fore ground right emphasises balance and form. I think the sky turned out nicely. With the dark coloured mountains and light sky  - it all gives an over all balance and contrast through out. The pattern of the field colours complements and knits in well i believe.

'Enniskerry town Houses'

I loved the over all feeling of freshness and ‘lightness’. The trees in in the back round are varied in this autumnal sketch. I love doing trees…especially in autumn as their colours are so beautiful with ochres, golds and yellows of all hues. The house at the end (blue roof) was deliberately as to attract the viewer to the watercolour. You need an ‘anchor’ to hold the viewer in more and to guide them through the sketch - just like a simple map.

'Broad Lough Marsh. Co. Wicklow'

This  is another example of one of many sketches i did over the last few months. it’s from a place called: Broad Lough in Co. Wicklow. It’s basically a marsh wildlife reserve. It has  many birds of prey; inc:  sea eagles, sparrowhawks, red kites and buzzards; game birds and lots of  other species too. I found this ‘gem’ of a place by chance. It has to one of the few places I’ve seen that has so many features: small streams, reed beds, flora and fauna of all sorts. Altogether, a terrific place to go no matter what you want - it has it here. Right beside the sea..literally. I was told if i came here i would catch a glimpse of the elusive: Sea Eagle! Not a chance, even though i waited over two hours. Mind you, i wasted no time and went straight for the sketch pad. This is one of the results. I think it was done in about twenty minutes or so. This was a lovely view of the stream that flowed from a very large corn field at the rear of the painting. I like the over all colours of the painting.

'Cottage at Kilmacanogue'

You get much more aware of your surroundings as you get more experienced. What i mean is: you see subjects easier to find rather than driving for miles on end. This is an example. I was driving to Wicklow to see a friend, as i came off the Kilmacanogue round-a-bout  i saw this lovely cottage nested among dark rich tree’s. So i wasted no time. I leaned against  the bonnet and began to sketch the scene. It was calm and dry…a out door painters gift! I loved the way the dark green foliage of the scots pines turned out against the pale mauves of the other trees. Some times i believe your/my best work is achieved when working out doors. There’s simply no time to ‘fiddle’ - resulting in usually clean and honest work. I always believe that painting from nature is without a shadow of doubt the best way to work. I can tell if a painting was done out doors or not, normally a ‘hitch’ i have adopted.

'Gable ends: Clarinda Park'

This sketch/painting was done only last week. It’s familar to me. It’s only behind a gallery where i show my work. These sketches almost take as long as the final painting. I was sketching it from my work van! I was happy with the cars. These can me tricky to amateur artists. So i started to sketch cars till i was confident i could even think of putting them in to a finished painting. I like the colour of the walls of the houses. Bleeding of colour is key.

'Houses near Sandymount'

This was done about two or three months ago. I love the lucidity and pure colour of the paint. When i work out doors i work with vigour and speed. I believe this makes less messing and hampering - if you do delay, your more than likely to get nervous and don’t have the same enthusiasm to work  in the passive way as you intended at the start. Watercolour is all about ‘conviction and speed’ . Procrastination is my No 1 enemy.

It’s been a long time since i posted. Sorry for all who are interested in my work. I’ve been lazy and not working as much as i should/could. I have been busy though this last few months completing some watercolours and oils. Watercolour has been taken up most of my time. Also it’s result is profoundly much quicker. I do hope you enjoy these new entries and feel free to comment - it’s comments and opinions give me a sense of where I’m at now.

Hills over Blessington, Co. Wicklow

This watercolour was drawn on a sketch pad  from my beloved Co. Wicklow. You can see the various colours, inc: blue’s, mauves, green’s and earthy colours. These are the collective colours i saw when i was studying the scene. It  gives an overall image of tranquilly and serene beauty i believe. I sold this painting last month, given the recession and the current financial climate i can tell you i was over the moon.

'Autumn on the Canal'

Here is an example of  ‘pure watercolour’. What i mean - there was no fiddling around with the paint. I executed it in about one hour. There is a good deal of pre-thought that does go into making it all gel. It’s really worth the extra effort to put some time into thinking long and hard where paint ’should’ go, and further more, shouldn’t! This is a scene i’m very familiar with, i can get there blindfolded!! A really gorgeous canal, and especially summer time.

'Survey Boat' West Pier Marina, Dun Laoighaire

This is a sketch i did a little while ago on the West Pier, Dun Laoghaire. It was a busy time around the boat as work men were fighting the clock to seemingly finish it for quick launch again. I’m happy with the out come even though it’s ‘only’ a sketch. This is my passport for a finished painting all the same. I feel when I’m ‘on site’ there’s a more connection with your subject.

'The Red Roof' Bullock Harbour, Sandycove.

I must admit, i was happy with this painting. It took approximately a half hour to complete. This is my rough time frame when working out doors as the elements of the weather are always the real threat. It also gives you a real ‘kick’ to work with conviction and more of a heightened awareness. The clock is always a good motivator - you don’t fidget, and have no time to drool on little things and just get on with it. I’m happy with the colour and clarity of the whole composition.

Motor Yacht Club Dunlaoire

A lucid quick watercolour done last September from my car. It was starting to rain and the water was calm and still. I loved the reflections from the white of the hulls on the boats. The back round buildings were bright white against the heavy dark clouds coming in. I seem to be able to execute watercolour sketches better outdoors, probably as time is a factor and you feel limited with weather conditions..(i was in the comfort of the car i must confess, but , normally i’m not) plus more alert working in more challenging conditions, etc.

Vehicle Studies (5B pencil)

Here you have a contrasting sketch to the above one. We all park regularly in car parks and shopping centers. I was sitting in my van one day and decided to sketch this study - I’d say it took approx twenty minutes or so. Drawing cars and vans is not so easy as it appears - the shape and proportion of vehicles takes careful consideration and time to evaluate before you put pen..(pencil in this case) to paper. I’ve only now begun to understand to sketch vehicles relatively ‘realistic’ to the viewer. Why I’m sketching them is simple - you will use vehicles in many paintings, as modern life is surrounded by them as much as trees in an open landscape.