A Flood of Seascapes

Rain Passes, Sea Glitters, acrylic on panel, 30 x 30 cm, 2021

Or whatever the collective noun for seascapes is. Anyway, after having lived by the sea for quite a few years but never painted it, I’m now painting it obsessively, even though I live further from the sea than I’ve ever done. Perverse! Or perhaps it’s a bit easier to process now I’m not faced with the vast sublime spectacle of it every day.

Rain Clouds Passing, Early Evening, acrylic on panel, 35 x 40 cm, 2021

I guess it’s true of other things, that it’s easier to digest them and figure out what they mean to us some time after we were immediately confronted with them. Sometimes a thing is just too big, or too complex for us to get our heads round it, or it brings up difficult feelings that we’re just not ready to process at the time, or maybe we take it for granted and we don’t realise how special it is until it’s gone.

Storm Fading into the Twilight, Shingle Glimmering at my Feet, acrylic on panel, 50 x 60 cm, 2021

When I lived by the sea I never once took it for granted. Every single time I set eyes on it I thought ‘wow’, it never once lost it’s power to impress and delight me. And it is so big, so unfathomable, so alien, that it can act as a great receptacle for all our thoughts, feelings, ideas and all the other ‘stuff’ that goes on in our heads that we want to chuck at it. It can mean anything we want it to mean; it can be benevolent, healing, terrifying, vengeful, playful, sexy. We talk about it and treat it with the kind of reverence and mysticism that we talk about our gods.

Rain Clearing, Dusk Falling, acrylic on card, 20 x 30 cm, 2021

I was less than a minute’s walk from the beach when I lived in Ibiza and the same in Whitstable. At the end of each day I used to wander down and stand on the shore looking out at the dark surface of the water, sometimes glittering with the reflected light of a full moon, sometimes noisy with restless waves stirred by the wind and at other times utterly black and still and silent. I’d say my prayers to it, for want of a better term. I’m not a Christian, nor do I follow any other particular spiritual path, but I felt compelled to fling out a fragment of my self into the water, like a little pebble that went plop. I never knew if anything else heard or acknowledged my words; if it did, great, and if there is no God and we’re just an accident of freak chemical reactions, well, I’d feel compelled to do it anyway.

West Beach After Heavy Rain, acrylic on panel, 20 x 30 cm, 2021

The sound of waves breaking on a shingle beach

Storm Fading into the Twilight, Shingle Glimmering at my Feet, acrylic on panel, 50 x 60 cm, 2021

The therapeutic application of sound as a healing tool has a long history. In Germany there is a great , and to my English ears, hilarious word for it; Klangtherapie. Well, the sound of waves breaking onto a shingle beach is certainly Klangtherapie for me, i find it, at the same time, both relaxing and energising, it clears my mind of fluff and detritus somehow and I’m left feeling calmer and more centred.

I could almost hear the sound whilst I was painting this picture, based on some photos I took on Reeves Beach in Whitstable a few years ago. A storm has been lashing the coast all day , but it cleared as the light faded and I walked down to the shore to enjoy the delicate rain washed sky and the reflections across the water which turned into glowing molten metal as the surface took on the opalescent colours overhead.

The sea rolled the pebbles on the beach around and around, the sound a susurration of rumbling and hissing and swishing and slopping, it was hypnotic.

It’s no surprise to me that the sounds of the sea turn up so often on relaxation CDs or music to help with sleep. It must touch something very deep within us, from our earliest memories and, perhaps, from further back, recalling our most distant collective memory .

By the seashore

Rain Clearing, Dusk Falling, acrylic on card, 20 x 30 cm, 2021

I’ve lived by the sea twice in my life so far; on the island of Ibiza in my early 20s and, more recently, in Whitstable on the north Kent coat. In both places I would walk along the seashore daily, sometimes several times a day, to marvel at the wide open horizon and drink in the ever-changing sky reflecting in the water. It was different every day and beautiful at any time of year and in any weather, well, almost any weather. But what I never did was paint it. I think it felt too obvious, too clichéd as well as a bit intimidating. Faced with the sublime right on my doorstep, any creative response felt like it wilted before it ever got near a canvas; anything I did was sure to be a timid faded shadow of what I felt and wanted to express. As well as that there were a few well-established artists already in Whitstable who painted mainly seascapes and they were very good, so I shrank back from trying my hand for fear of unfavourable comparison.

Now, a couple of years later, and many miles away (and many miles from the sea!) I went to the studio this afternoon without any plan of what I wanted to do and just sketched this tiny seascape on a piece of card. ‘There, it wasn’t that difficult was it’ I felt like telling myself. The creative impulse is such a delicate, precious thing, it’s so easily inhibited, shut down and frightened away. There are lots of manuals and how-to books available these days that aim to help an artist overcome the unceasing, critical voices that often kill any urges to make something and I wish they’d been available to me when I was young. But however many books we read, in the end, we have to do it. Do. It. Sometimes it doesn’t feel like it gets any easier as I get older, but sometimes I surprise myself and just get on with it

The worst thing that could have happened today when I had a go was that i spent a couple of hours making something that I didn’t like; hardly catastrophic. And even then, I would have made something that didn’t exist before, you can’t lose really. I must remind myself of that every day!

Clowes Wood

fullsizeoutput_20c4.jpeg

Clowes Wood, acrylic on panel, 40 x 50 cm, 2020

The weather has turned gloomy here in Berlin this week, although it’s very mild for this time of year. It’s more usual to see snow arriving by January, but we’re not even getting any real frost at night. Not sure this is a good sign, although I’m not complaining either as I hate the cold!

I guess this might be why I was drawn to painting some strong sunlight and warmer colours; I  do find I often paint summery paintings in winter and vice versa!

This scene is based on some photos I took up along the Crab and Winkle Way, a footpath and cycle path that runs from Whitstable to Canterbury along the route of an old disused railway line. As the path winds away out of Whitstable, it climbs steeply up onto some hills and is a lovely place to walk in the late afternoon and early evening as it catches the light beautifully.

The woods are bare and silent now, and, although they have their own unique magic in the winter, i’m looking forward to spring again. The bulbs are pushing up through the soil, the days will start to get longer soon and I can enjoy some of these colours again before not too long I hope!

I’ll tinker a bit more with this painting but it’s more or less done and will go back to Whitstable to Whitstable Framing before it goes up for sale – maybe somebody local who enjoys walking the C&W way will fancy it 😉

 

 

 

Autumn sunshine

 

fullsizeoutput_112f

In a Whitstable Garden 1 – November Sunshine, acrylic on panel, 30 x 40cms, 2016 

Spring and summer are definitely my favourite times of the year. In autumn I can go a bit melancholy and as for winter, well, I can do without it, or I could cope with it better if it was just a week of cold clear frostyness and then things went back to spring again. But this year autumn has been really lovely; mild and bright right through October and now the leaf colour is absolutely marvellous.

My friends up the road here in Whitstable have a wonderful garden, i’ve posted about it before, and right now it’s gone wild and shaggy and is still full of glorious autumn colour. The mild Kent climate means there is a wide variety of plants that flourish in gardens here and my friends’ garden is lush and almost tropical in the summer. Even now, in mid-November, it’s still full of wonderful things; seed heads and stems start to appear and make fantastic subjects for painting. I’ve been particularly taken with the Rudbekia seed heads and the tangle of climbers such as  Clematis and Spanish Flag. Here are a few details of this weeks’ painting – I like the details very much as they’re a bit looser and more energetic:

fullsizeoutput_1126fullsizeoutput_112afullsizeoutput_1125fullsizeoutput_1127

I’m enjoying the painting at the moment and with the wonderful autumn colour and shapes I might keep going for a bit with images of this garden, until winter really starts to take its toll and the whole thing collapses back into the soil until next year….

:

 

 

Semblance, 31st August -6th September

img_0486

Semblance

Phil Cooper, Phil Gomm & Phill Hosking

The Somerset Maugham Gallery, The Horsebridge Centre, Whitstable, Kent

31st August – 6th September 2016

Gallery Opens Monday – Saturday 9am-6pm, Sunday 10am-5pm

Private view, Saturday 3rd September, 2pm – 6pm

Things that are not what they seem, fleeting glimpses, appearances not of this world, and spectral presences that wink in and out of existence. Semblance brings together work by three Whitstable-based artists that explores realities hovering just above or below the surface of the visible world.

It’s a great pleasure to be exhibiting again at The Horsebridge with Phil Gomm and Phill Hosking. We’ll be showing new work in a variety of media including  paintings, drawings, screen prints, photography, 3D constructions and lightboxes. Common threads weave in and out of the three groups of work, however, as semblances echo and resonate across the gallery walls.

Phil Cooper

Titled  The Road to Midville Bridge, this collection of new work captures fragments of a story, a story about getting lost and stumbling across a place that isn’t on the map, a place that shouldn’t be there at all…

enlight1-35

_DSF0007

_DSF9970

imageimageIMG_9476-Edit-2-Edit-Edit_DSF9926-Edit

*

Phil Gomm

Phil Gomm spent a night alone in an old empty house in the Medway town of Chatham earlier this year. The images he captured from what occurred during that night will be on show as part of Semblance…

IMG_0457IMG_0458

IMG_0460.JPG

Phil is Course Leader for the BA (Hons) Computer Animation Arts degree course at the University of Creative Arts (UCA), Rochester.

And you can see more of Phil’s photographic work here.

Phil is also the author of Chimeraan adventure trilogy for younger people and adults alike that has more than a hint of Semblance about it too.

*

Phill Hosking

Phill Hosking’s unique and powerful imaginings move into screenprints for this exhibition, with paintings and drawings also on show. He conjures a world of extraordinary forms which evolve and dissolve before our eyes….

Phil Hosking.jpg

IMG_8973.JPG

See more of Phill’s work on Instagram, and on his blog.