The Assembly Hall at ICA has to be the most beautiful gallery space I’ve ever seen, never mind shown my work in, and I’m delighted with how my 20 paintings and 18 prints look in such a fabulously well-lit and stunning exhibition space.
The staircase provided the perfect place for my 3 Glitter Moons, leading visitors to the upstairs level to where my etchings and watercolours are hanging.
The whole gallery benefits from wonderful natural light provided by the many windows and the great arched window on the stairwell. In addition to that there’s a spotlight above every single picture and this really shows off my work beautifully.
And before even half of my pictures were on the walls I was presented with a glowing review of the show by Gael Hillyard, who did a wonderful job of describing the effect my oil paintings and Glitter Moons had on her. Read the full review here.
Dunnottar Castle is quite possibly THE perfect landscape painter’s subject. Sitting atop a magestic outcrop of rusty red sandstone, surrounded by constantly changing seas and skies, it’s sheer immensity and magnificence are breathtaking – the scene simply demands to be painted!
My favourite place to paint!
The above painting is the view from the little bridge that spans the deep gully and leads to the cliffs on the western side of the castle. Those cliffs have also been a favourite haunt of mine over the past few months and are a great spot to paint en plein air (below).
After spending several months working on this particular painting – and trying do the scene the justice it deserves – it will be great to see it hanging at the Aberdeen Art Fair (AAF) from this Friday.
Muckle Flugga (Old Norse Mikla Flugey, meaning “large steep-sided island”) is the northernmost point of the British Isles and, in my own humble opinion, has to be one of the most dramatic lighthouse locations on Earth.
I hope to have captured something of the rugged nature of the rock itself, but also of the precariousness of that lonely lighthouse perched upon it. The perpetual crashing of great ocean waves has done little to change this scene since the lighthouse was built in 1854. But nothing lasts for ever – apart from oil paintings hopefully!
These three paintings went off to the wonderful Ballater Gallery this weekend. Between them I think they give a fair representation of the kind of work I’ve been doing lately.
Bennachie is possibly Aberdeenshire’s most prominent and, among the locals, favourite hill. It’s a fairly easy walk through a seemingly enchanted woodland, before steepening significantly towards the top. With it’s very distinctive torr (known as Mither Tap) it’s a hill that can be easily spotted from just about every other hilltop in the Grampians.
I’ve never seen such an abundance and variety of mushrooms and toadstools as I found under its lower slopes last autumn, and I can’t wait to get back up there on a hot summer’s day. It’s a magical place and I hope to have captured a little of that in this newly finished oil painting of the view as seen from across fields ripe and ready for harvest near Inverurie.
The Bell Rock lighthouse is one of my favourite subjects for so many reasons. I grew up in Arbroath, from where Robert Stevenson and his team planned then carved the dovetailed stones to build this 36m high wonder of the industrial world. They then shipped them 11 miles across often very dangerous seas to the reef and, when complete, it became the very first rock-based lighthouse in the world. It took the full 3 years between 1807-10 to build and that was no mean feat, considering the base is fully submerged every high tide and also for much of the remainder of each day.
While this very spot has set the stage for many a tragedy (including scores of shipwrecks and even a helicopter crash in 1955; the rotars hit the anaeometer on top of the tower) I have tried to capture it at a more serene, benevolent moment. The brilliant beam flashes out across 18 nautical miles every 5 seconds to warn passing ships of the very real dangers that lie just a few inches beneath those calm, dark waters.
Dean Village in Edinburgh is another favourite place of mine, as I’m sure it must be for many. It’s a view that will be very familiar to anyone walking or driving across the Dean Bridge as they enter the city centre from the north. Looking over the bridge at the myriad jumble of buildings your eyes are met with seemingly countless windows. I like to imagine the lives of all those others who might be gazing dreamily back out from each and every one of them.
I’ve painted this scene several times, each version capturing the same place, but at a different time of day and giving the same composition a completely different feel or atmosphere.