A beating heart

Weaving throughout my ghost series will be pale hints of anatomical references – the diagram of a heart; creeping bronchioles like ivy; the glimpse of a skeletal ribcage.

The rhythmic beating of our heart and the constant intake of breath are what keep us alive, and we do these actions automatically, without thinking. My “ghosts” would have lost these vital functions, having passed into flimsy intangibility.

Their mouths gape for the intake of breath that will not come; their ribs guard a hollow shell, devoid of a human heart.

Sketchy Beginnings

Sketching the specimens displayed at the "Bodies 2" exhibition in Budapest. I'm enjoying incorporating more scientific and anatomical references in my new work, and I wish I knew of more museums with exhibitions like this - but it seems they are strangely few and far between.

Composition sketches for a new piece for the restaurant in Győr that has continued to support me here as a full-time artist.

Scribbles and Sketchbooks

As well as the framed paintings exhibited at my solo show, I have 5 glass display cabinets showcasing sketches, works in progress, quotes that inspired me, and paraphernalia related to my work practice.

 

I felt it was important to show that the immaculately detailed work on the walls all start off as messy scribbles in my sketchbooks, and quick studies jotted on scraps of paper.

And most importantly my palette - a mere 7 blobs of colour are the starting point for me. Devotion, patience and a great deal of time complete the recipe! There it is, up in the corner. So simple, no?

Sketches from Paris

A selection of sketches from my moleskine diary.

Some are sketches from cafe's in Paris, one is from my imagination, and some are "blind contour" self portraits - an exercise I make my students do a lot, that they are confused by, but I think it is excellent practice for someone like me who is so tight and rigid when it comes to style.

I should have known

Watercolour on paper, 52 x 37 cm

Another milk-eyed seer. I’ve barely finalized the title for my upcoming Solo Show revolving around Hungarian folktales, but I’m already contemplating a title for this next body of work, to avoid always calling it “my new series”, or something else vaguely similar.

Here taped to the wall are my brainstormed ideas… I've managed to narrow it down to the closest 50...

Here is the next sketch, with the drawing finished she patiently awaits painting...

Sketchbook Musings

An artist’s sketchbook is a very personal thing. Whenever I’ve had the honour to catch a glimpse into one, I’ve always marveled at just how different they are, based upon the individual. Some sketchbooks are so neat, that each page could be removed and framed. Mine tend to be filled mainly with writing; I write down my ideas rather than sketch them out. I’ve always wished I kept neat sketchbooks, filled with charming studies and snippets of drawings, the sort of treasure you could exhibit alongside your finished work, but unfortunately mine are always messy and confusing –  the opposite of what my work eventually looks like. I wonder what they say about me? They’re obviously a lot more honest than a finished, fussed over painting.

Usually, I only start sketching an idea to figure out composition right before I'm ready to start work on the final piece. Here I share the preliminary sketch, and the progress of the final figures.

Pastel and Fog

Taking a break from the large serious paintings I kept myself busy on a chilly evening with little sketches rendered in very pale washes of watercolour.

This one reminds me of a fox spirit.... one of my obsessions.

In the morning a thick fog descended upon the town, shrouding it in a heavy veil of white. I saw a nice corrolation between it and my misty portraits.

I love all the gorgeous pastel architecture here, perhaps it's having more of an influence on me than I initally realised...

Vignettes

Spending my adventure holiday inside playing around with filters.... well in my own defence not only is it raining outside but it is below 20 degrees celcius.... which is cold for little tropical me :-)

Both of these littlle dears were inspired again by the incredibly eery dolls of Kamilla at Wooded Woods. I've been really entranced with her work recently.

Here's the original watercolour in my sketchbook...



Sketches and Scribbles

For Christmas I bought myself a nice scanner, with the highest scan resolution I could find.

I used to just use some cheap and nasty printer/scanner combo... but so far, I'm convinced the quality was better before :-/ I must be doing something wrong, because the new scanner is reading the colours all wrong, and I'm not photoshop savvy enough to know how to post-edit.
Until I figure it out (wish me luck) here are some little watercolour sketches I've been doing recently to keep ''in practice''.

Ink and Water - Sketches from Life

I do wish I could just wake up and spend my days drawing. Drawing in the morning, painting in the afternoon, sketching in the evening... ahhh, I would be in paradise.

As it is, that inconveient condition called "everday life" has been getting in the way of my dreams. But, I do stay in the habit of carrying a little sketchpad with me if I can. Re-fillable ink-brush pens are a saviour.

At a dear friends Engagement party

A fellow cafe patron

Sketches and Scribbling

I've read more than once that as an artist, you should draw everyday to keep in practice, push yourself, keep your hand active, and stay in that artistic frame of mine. I agree with this wholeheartedly... but cannot confess to being a practitioner of this zealously *shame*

Often when I get an idea I will actually write it down in my "sketchbook", rather than sketch it. I just don't like my quick composition scribbles. I've seen some artist's doodles that have an incredible vibrancy and life to them. Mine however, are usually mis-shapen blobs and confusing lines. I'm not very good at drawing an idea down on paper instantly from my brain.

With my finished pieces I have time to work out the composition, and usually use a range of reference materials to get every aspect of the drawing 'correct'. I am a firm believer in using reference photographs in my practice without shame - I like the thought that if I am drawing an elbow, I am also looking at an elbow, there is flesh and blood and sinews and tendons underneath the skin, I'm not just drawing a symbol for an elbow.

I do like drawing from life though. If I'm at a friends place, I like to reach for a scrap of paper and draw portraits. Luckily most of my friends that I "hang out" with are all artists, and don't find this odd!
This gives me a chance to study drawing the human form in a quick and expressive way, without relying on my brain to make things up.