Looking back at past work often causes a new response; looking at this image I am imbued with the feeling of hope of Spring; a peaceful, restful figure painted in muted, gentle colours and tones. Still a favourite of mine. Available in Giclee Print.
It’s that time of year.
A time to assess the year’s work and make plans for the coming one. Thanks for your many kind words through my instagram site cherylperrettart
I was great to receive many commissions in 2020 and I’m delighted by the clients’ positive comments to their pieces.
A busy time now looking for representation in a gallery setting.
My website will now be the ‘go to place’ to catch up with studio developments and to buy directly from me. Wishing you all a positive year with lots of colour!
Working on a three quarter life oil painting for a client.
From a selection of charcoal and pastel studio studies with my model Callie, this final composition was chosen. I wanted to recreate some of the sweeping drawn marks from the study into the final painting. Callie as always willing and able to hold the tricky balancing and twisting poses I had in mind for this commission piece.
Working together on a concept that has been evolving for the past year.
Collaboration with Marie Louise Flexen has always been so intuitive and rewarding. Responding to her movement in charcoal and graphite powder, with the intention of working colour into it. The painting that resulted exposes some of the initial drawn marks.
‘Butterfly Head’ is the first panel painting in a new Series ‘The Small of IT’. Staying at home for chunks of 2020 refocussed me to revel in the beauty of the small things in nature, like so many.
I felt human ‘dominance’ fade away. The recognisable head form becomes absorbed in the surroundings, with reference to human presence being minimal. The paintings are much smaller than most of my work, measuring 30x30cm.
LINK DETAILS HERE
Being a painter for me is about constantly exploring, responding to the present and the past, and expanding my practise.
It seems that at present I have 3 distinct approaches: Expressive movement inspired abstracts, large female subject based gestural paintings and detailed precise small technique orientated works again with the female as the subject. This isn’t contrived but just intuitive, next week I could have 6 or 7 approaches: I don’t want to restrict my work by pigeon hole-ing it.
Life interests me and the past fascinates me. I am always watching and absorbing via sketchbooks, notes and logging moments in my head library; recall of past events and sensations combine with themes to inform what and how I paint. I am a living sponge of art.
I see the human form in landscape, we are part of it, we are it.
A painter’s plea
observe take in explore interpret…
the paint, the marks, the interaction of colour next to another, the boldness of a shape, the weakness of another, please.
This art of mine is not 2 dimensional in any way
it deserves your time, your interaction.
This is no momentary fling with paint, it absorbs me, it defines a part of me.
Give it time to breathe in your presence.
Playing around and evolving the bigger meaning of Portrait is an ongoing journey in my work, and I was totally stimulated by the Howard Hodgkin exhibition Absent Friends at The National Gallery, all abstract paintings in response to specific people from his life.
I would rather be unpeeled, represented as an entity of non-human form as a true portrait of myself…it’s a leap of faith and understanding but crucial in gathering an essence of the true self – I will see what unfolds over the coming months and years.
She is a beautiful woman whose calmness I was keen to capture.
As the sittings unfolded, there were three two-hour portrait sittings, I wanted to wrap a narrative around her, a wisdom, a relation to the land and a waterfall. I had encouraged her to wear a white skirted dress which created almost wave like shapes. The base of the painting remains quite fluid and suggestive, which crashes against the diagonal of her descending braided hair. Where she stops and starts is intended to be ambiguous. A theme current in my “Falling Series”; where do we dissolve into the landscape to reappear again?
If you would like to discuss a portrait commission, please contact me here.