Revised Opinion

OK, now we've got snow! After showers of snow every day this week, the depth of snow is certainly equal to many I remember as a child. Amazingly, I've begun to hear again the rumble-rumble----thud! as snow, warmed by the afternoon sun, loosens its grip on the tiles and rolls off the roof.

And there are icicles! I'd almost forgotten how much I loved those glorious, glittering watery confections, now to be seen dangling from the eves of the house,some of them reaching almost three feet in length.

If nothing else, my inner child has been re-awakened by this winter.

Warm Thoughts from Indoors

Down in the garden, there's a blackbird valiantly pecking at the seed in an effort to get as much of it as he can before the snow covers it all up. Outside my upstairs study window, the snow is swirling and billowing, and inside the study there's me, thinking.

I sometimes wonder whether I think because I'm not painting, or I don't paint because I'm thinking. Either way, I'm thinking. What I really need to do, however, is write down what I'm thinking. There are connections being made, plans formulating and possibilities being explored, but all of this is internalised. It needs to be put on paper so that I can see where it might lead, so that's what I'll be doing for the next hour or two.

As is usual with these thinkfests of mine, there's a book driving me on. This time it's Eric Maisel's Creativity for Life, a book that pulls together some of Maisel's previously expressed views and turns them into an encouraging overview of the problems faced peculiarly by artists. There are exercises at the end of each chapter which, on a quick skim last night, suggest ways I might be able to get my act more securely together than it feels at present.

Whether or not I'd be better off painting than thinking is somewhat irrelevant. It was quite nightmarish trying to get down the backstairs to give the birds their cold weather rations; I'm not sure I fancy shuffling down again to get to the studio. Blimey. I might never get back up again until the thaw!

Speaking as someone born in the historic winter of 1947, I remember much, much worse snow than what we've got now. We really have forgotten how to deal with snow in this country, haven't we?

Medallion Man

I was delighted to read on Casey Klahn's blog, The Colorist, that he'd awarded me a medal for one of my posts. Casey has been a firm supporter of my attempts to find a way through what for me was a colour minefield and has applauded my efforts just at the time when I needed encouragement most.

His own work is outstanding and his blog a delight to read. I urge you to follow up his other recommendations and take some time to look over his blog.

Happy New Year

As Pat and I walked home last night from our New Year's Eve party, the freshly falling snow crunched underfoot. For the first time in years we're having a proper Winter and, although I'm sure I'll be moaning when the snow turns to slush and ice, I really appreciated the break from those awful grey, wet miserable Winters we've been having.

There was more snow today and for a while it was difficult to see across the Valley to the Silver Hills, but later the sky brightened and I was able to take this photograph from my study window.

I'd like to wish you all a very happy and prosperous 2010.

Holy Island Boat Shed

Holy Island Boat Shed (oil on canvas panel, 5 x 7 ins. Private collection)

I hope you all had a good Christmas. I certainly did and must thank Andy and Helen for giving us such a great time in Cambridge. And the Boxing Day revels with Helen's folks were much appreciated. Thanks guys!

The secret commission I spoke of a while ago can now be revealed. It was this small painting of one of the famous boat sheds on the Holy Island of Lindisfarne, with the Castle in the background. I did it as a Christmas present for Andy and Helen.

It was interesting working on such a small scale again. When I first started painting, I did quite a lot of paintings on this sort of scale, especially while Northumbria Gallery were running their Small Works shows, but it's been a few years since I tackled one. Doing this one, and reflecting on the increased problem of storing large pictures in the house, has moved me further in the direction of a renewed interest in small works, I think. Hidden away, but lying dormant, is my Other Blog, Art from Tyneside, set up a year ago during a period of interest in the Daily Painters Movement. Maybe it's about time to get that project off the ground. Watch this space.

Merry Christmas!

Compliments of the Season to One and All.

Website Goes Live

At last! My website went live today, so I hope you'll think about visiting. No, don't just think about it, do it, go there now, do it without thinking! You know you want to.

I'm still finding my way around the template system provided by Clikpic, and as time goes by I'll be adding more content, but I'm happy with it as it stands. Which doesn't mean I won't be interested in any comments you may care to leave on my doorstep.

Old Drawings #49

Seaside Shelter (Charcoal, compressed charcoal on A4 cartridge)

I'm still distracted by various things, so no new painting to show.

On one of many lonely days in the studio at Uni late in 1998, I decided to take the Metro down to the Coast and look for inspiration. It was a cold but sunny day and I walked down the almost deserted beach from Seaton Sluice to Tynemouth. This is one of the drawings that resulted.

Later, I used it to make this painting:



Shelter (oil on canvas, 24 x 24ins)

Pharmacy

On Wednesday I overcame my reluctance and went to see Damien Hirst's installation Pharmacy at the Baltic. I don't like what Hirst does but thought it unfair to condemn a piece of work without actually seeing it. So I met up with my old mate John and after looking at the entertaining photographs in the Martin Parr exhibition, we walked into the room containing Pharmacy.

It didn't make me angry. It didn't make me curious. I didn't laugh. I didn't sneer. I was completely unmoved. The least I expect of an artwork is that it should provoke some emotion, however slight, and this did absolutely nothing.

Sorry, Damien: must try harder. Why not take up painting? No, wait .....

Robert Holdstock (1948 - 2009)

This Winter continues to pry my fingers loose from all sense of reality. At the weekend, 29th November, Robert Holdstock died after collapsing on the 18th with what proved to be a serious E.coli infection . He was only 61. I knew Rob when I was active in the world of SF conventions and fandom. I didn't know him especially well socially, but he stands tall in my mind as a fun-loving man who filled every room he was in with laughter and good cheer. As is always the way of these things, I'd recently obtained his email address with the intention of writing to him to catch up and say how much his writing meant to me. I delayed doing so and regret that I can never do it now.

Those of you interested in the SF and fantasy field will know him as the author of many notable sf, fantasy and horror novels, but his talent was to show that genre writing could also be good literature.. Unquestionably, his most significant work is that connected with the Mythago cycle, which began with Mythago Wood (1984). The novel won both the World Fantasy Award and the BSFA Award and was particularly notable for creating a viable fantasy mythos set in the present day, while describing an ancient world of archetypes within an English woodland.

My sincerest sympathy to his partner Sarah and the rest of his family.

Old Drawings #48

Saltwell Park "Frying Pan"
(Charcoal, compressed charcoal on cartridge paper, 16.5 x 23 ins)

I've always liked this view - I've drawn it several times over the years and even started a small painting which failed to take off.

Saltwell Towers and its grounds, which lie at the heart of Saltwell Park, are surrounded by low walls and walkways and every now and then there's a little turret. These used to have nice wooden seats in them but seats always offend the loutish section of society, so they aren't there now. When I was a kid, I always called these turrets "the frying pans".

Old Drawings #47

Steps by Saltwell Towers
(Charcoal, compressed charcoal on cartridge paper, 16.5 x 23 ins)

Walking down the path in the previous Old Drawing, you come to this set of steps next to the Towers. The Towers building at the time was hidden behind the dilapidated fence at the right, with many Danger - Keep Out - Falling Masonry signs.

Old Drawings #46

Saltwell Park - By the Towers.
(Charcoal, compressed charcoal on cartridge paper; 19 x 33 ins)

In 1998 I began to think about drawing the countryside rather than the town. I don't live in the countryside, however, so I decided the next best thing might be the local park. Saltwell Park at the time had been in decline for some years and the once splendid Saltwell Towers was nearing collapse. The Towers are that gloomy bulk at the right of the drawing.

I'm delighted to say that with a Government grant, the Park has since been restored to its former Victorian splendour and won an award as Britain's Best Park in 2005

Oaks Nr Sawrey

Oaks Nr Sawrey (Oil on canvas, 24 x 24 ins)

Back at the Club again on Friday and good to get back into painting. It's a companion piece to Oak Citadel, which I've posted here previously. I'm really happy with the way these have turned out and am beginning to think about some further additions to this non-urban subject matter.

Maquette

The maquette is inaccessible, I'm afraid, but here are two photos, touched up with some wobbly Photoshoppery, which give some idea of how it looks.

The studio assistant with responsibility for sculpture proved her future value by saying, "You've been looking at too much sculpture, Harry." Suitably encouraged, the following year I dropped Sculpture in favour of Painting and Printmaking.

Short Interlude

More Good Press

Another nice write-up in the 9 November edition of The Courier, Newcastle University's student newspaper. This time I get compared to Hockney, rather than Thiebaud. Who am I to grumble?

Drawing for Sculpture 2

Ideas for sculpture (Two pages, A4 sketchbook)


Ideas for sculpture (Two pages, A4 sketchbook)

Some pages from my sketchbook showing work on ideas for the sculpture derived from urban drawings. The top one was based on a drawing of some fire escapes, the lower one on the drawing of part of The Swing Bridge connecting Gateshead to Newcastle, posted last time. The second drawing is more fully realised because the maquette was being made by then.

Drawing for Sculpture

High Street Fire Escape (A4 sketchbook)



Concrete Walkways (A4 sketchbook)



Swing Bridge (A4 sketchbook)

As well as the drawings on sheets of A2 paper I've been showing you, I also did a few drawings in my sketchbook.

You can see in the last one that I was starting to work on ways of adapting the drawing of the Swing Bridge for sculptural purposes. Next time I'll show how I developed these ideas further and, with luck, I may be able to find the maquette for the final sculpture.

It's Oh So Quiet

It really is quiet on Boogie Street, isn't it? I'm sorry about that. The changes in the weather and the clocks have, as always, produced a downturn in my spirits. I'll get over it, but for now I lack the drive to get much done in the studio.

Which is not to say that I'm absolutely idle. In addition to a bit of tinkering with one or two unfinished paintings, I'm currently working on a commission. But it's a secret commission, so I'm not at liberty to say anything about it or to show its progress. Frustrating, I know, but I can't take the chance of the recipient seeing it here before its completion.

Unusually for me, I've also designed and had printed (by Moo) my Xmas cards, which puts me well ahead of the game compared with any previous year you care to name. This ought to ensure that, for once, my friends and contacts should receive a Xmas card from me before New Year's Eve.

Wait, there's more. On the reverse of the Xmas card is my contact address, of course, and also, this year I've included my domain name - www.harrybellart.com - but don't go clicking on it just yet. That's the point. I don't have a website to attach the domain name to. By putting the domain name on the cards, I figured it would spur me on to create the website, so that's something else occupying my time. At the moment I'm considering a site using a Clikpic template. If anyone has any reasons why that shouldn't be a good idea, I'd be grateful for any information.

Oak Citadel

Oak Citadel (Oil on canvas, 24 x 24 ins)

I tried to post this yesterday, but I found I couldn't connect to Blogger all day. A little searching on Twitter showed that I wasn't alone in this, but that it wasn't universal. Odd.

I made an effort to get to the Art Club on Friday ... and found myself alone. Maybe it's due to the half-term holidays and all the regulars have been roped into grandfatherly duties. I suppose I could have gone home again, and the thought did cross my mind once or twice, but I felt that I needed the discipline of getting back into to some work. If I'd gone home, I might not have started on anything at all.

Old Drawings #45

Drury Lane Fire Escapes (Charcoal on A2 cartridge paper)

I seem to be unable to get down to some work at the moment. I spent today with friends, looking at the Red Box and Guildhall shows, but I didn't come away with a burning need to get back in the studio, as sometimes happens.

So for now, let's carry on with the last of the Drawing for Sculpture drawings. There was one other, also done in Drury Lane (it's a lane in Newcastle, not London); a much better drawing, I believe, but one which I sold without taking a photograph of it. Foolish.

Old Drawings #44

Central Motorway (Charcoal on A2 cartridge paper)

Another in the University Drawing for Sculpture series. I took my life in my hands and climbed over a railing to get right next to the motorway. If there's a more hurried look to this drawing, put it down to freezing wind, cars and lorries rushing by only feet away and really horrible fumes. I didn't stay long.

Guildhall Exhibition

The Turnbull Building (Oil on board, 30 x 30 cms)



Swing Bridge (Oil on board, 30 x 30 cms)

Last night was the preview of the North of England Art Club's Annual Exhibition at the Guildhall on Newcastle's Quayside. I have these two small pictures in the show. They both date from around 2003, but only recently were put into frames.

It was a good night but not one noted for sales. One only, I think, and certainly not mine.

Old Drawings #43

Processional Way, Civic Centre (charcoal on A2 cartridge paper)

I'm full of cold at the moment and struggling to complete my end of year accounts, so only time to post another in the Old Drawings series.

This is the third of those I did for the Drawing for Sculpture project in 1997. It's a drawing of part of the Processional Way leading into Newcastle's Civic Centre and shows an ornate bronze screen which proved a bugger to draw with wind-frozen fingers.

Old Drawings #42

Pilgrim Street car park (charcoal on A2 cartridge paper)

Another of the Drawing for Sculpture pieces from 1997. Brings back memories of a cold and windy October.

Getty Images

Those of you who have taken the time to look round my blog will have noticed the Flickr badge in the sidebar at the right. Clicking on it takes you to my Flickr pages where (so I'm told) I have over 400 images of paintings, drawings, sketches and cartoons.

Some months ago I was contacted by Flickr who told me about a new arrangement with Getty Images and said that Getty Images were interested in buying a two year copyright licence on half a dozen of my paintings. After a bit of thought and some investigations, this seemed like a decent proposition, so signed I up for it. A few days ago, they told me they want another half dozen.

There are always problems with what appears to be a straightforward project. I needed a PayPal account into which they can pay any royalties, so I've set one up. They also need images with a much higher resolution than what's actually on my Flickr pages, but everything can be sorted out. I've spent the last few days raising the resolution in Photoshop and filling out the description boxes required for Getty.

And now I sit back and watch the money roll in? I should be so lucky, but it'll be interesting to see how it all works out.

Rocky Start

Rocks (work in progress)

I was tempted to make a quick run into town last Friday to stick up a copy of The Crack page on the Art Club notice board, but checking with a phone call, I discovered the heating wasn't on and the members were on the point of giving up. As I don't have a key for the door at the moment, there wasn't much point in going.

But on the assumption that I will get there soon, I started this small oil, to be continued at the Club. It's on a rather violently green background, which may or may not be a good thing. It's also on a rather unstable stretcher, which is definitely not a good thing.

I've slipped into The Crack!

Local listings magazine, The Crack, gives Figure8's current show at Red Box the thumbs up in a quarter page review! How absolutely wonderful to be compared with Wayne Thiebaud, high in my pantheon of artist influences. All that looking at his work must be rubbing off.

Old Drawings #41

Car Park Steps (Charcoal, compressed charcoal on A2 cartridge paper)

As I'm still in Sorting Out mode, I'm not getting anything done to show you, so I may have to resort to showing Old Drawings for a while. Not such a bad thing, as we've reached the point in 1997 where I went to Newcastle University to start my BA (Hons) in Fine Art. As a result, there are quite a few drawings from that period.

The course was a four year course (rather on the model of the Scottish art colleges) and the first year was designed to bring everyone up to a similar level of ability. There were periods of drawing, sculpture and printmaking and this first exercise sent us out into town to make drawings of urban architecture, with a view to making sculpture based on the drawings.

This is the first I did.