Dark Matter 2

Here's another version of Dark Matter. I made this and the previous one very quickly and was pleased with the results. At the moment I'm working on something similar but larger and I've been stopping and starting whilst making it and it isn't working at all. Which just goes to show that there's something to be said for starting and finishing in one session.  It's a sort of holistic thing I reckon.

Dark Matter 2 2019
Jane Pearrett
Acrylic Paint, grease-proof paper, coffee stains, sellotape, brown paper, gouache and staple holes on natural paper.

 Here are some details...

Showing some reflections with the sellotape contrasting with the matt paper...sellotape ages very nicely by going a bit yellow. I'll have to be patient for that.

Some accidental finger prints in the sellotape and skin prints in the yellow paint.

Keeping the flow going

I'm breaking away from my usual techniques with new ways of working. The issue for me is that the way I often work can be too precise. This can cause me to spend too long without working and induce block.  So I'm limbering up with a looser approach both in application and in materials. I may not stick to this but for now it's good.

Sometimes I buy art materials with one intention and then forget what it was only to use it a year or so later for something completely different. I found, as a result of this, some natural paper tucked away and slightly damaged. This was perfect for some experimentation.

Dark Matter 1 2019
Acrylic paint, grease-proof paper, coffee stains, sellotape, brown paper, gouache and staple holes on natural paper.

Here's another image that captures some of the textures not seen in the whole foto above.

Capturing the sellotaped areas on the signature and top right.

Jane and Robin Shout on Xmas Day by WE

It's Boxing Day and WE are playing with a present I bought for my partner in crime. A little set of rubber stamps. Yesterday, Christmas Day, we started with a row...classic Xmas dysfunction. Then we spent the whole morning cooking: a nut roast and a vegan gravy for the vegetarians and a traditional turkey dinner for the carnivores. A small family gathering ensued and we had a lovely time. 
Today we've been playing with the stamps and without realising it have made a work which echoes the argument we had yesterday. 

Jane And Robin Shout On Xmas Day
Print and drawing
Acrylic paint and ink
December 2018


Folkestone UK

My new bolthole is Folkestone in Kent. Only 55 minutes from St Pancras on the fast train and you're there by the sea. There are lovely walks along the white cliff tops where on October 11th we picked wild apples, saw butterflies coupling and wild violets in flower; plus a really strange-looking long beetle that crossed our path. It was a warm and sunny day so I guess the wildlife was enjoying it as much as we were. We came across a Battle of Britain memorial site and nosed around in there taking fotos of the replica planes, which were impressive even though they were copies. This foto is the result of getting in close and personal to the aeroplanes. 

A new piece

Jane Pearrett
fotographie, gouach and graphite on A3 black paper

Generally I go to France every year for my holiday. This year I was in Arcachon near Bordeaux. They are big on oysters there and this was the first time I have eaten them. The experience was very rustic; the kitchen was a basic hut and the tables on the edge of an inlet of sea water with all its associated smells.

This area has countless oyster fishing boats and huts. The huts are mostly black in colour and all quite similar but are often personalised in some way. They are endlessly charming. A few of them were burnt down and left in a pile of charred wood and rusting metal.

I decided to take some detailed shots as I'm fascinated by the way rust creates its own form of beautiful and rhythmical abstraction like many other elements in nature.

I decided to use the rust images in a collage but to alter them further. In addition, I had recently bought a second-hand book on Hans Richter which I had been flicking through. In his late abstract work he makes a series of collages in a variety of mediums using a wedge-type curving shape. I have used a similar kind of shaping to create the sections of my piece as they have an organic, living and directional quality to them.

I often name my artworks after I have made them. This is because I don't make too much representational art and very abstract pieces are difficult to name because they are so indirect. So this morning after weeks of looking at the end product on my wall I decided to name it Shoal as it reminded me of the rhythmical spacing of fish when they swim together and this name also takes the piece back to where it came from which is the realm of the sea.