Shetland residency

 

 

 Shetland 5 (Sumburgh), acryilc & gesso on canvas, 6x6in, sold

 

This post is very long-a compilation of my first 10 days in Shetland.....

 

April 9

Today Shetland artist and new friend Anne Barron took me for a stunning drive to visit the studio of painter and jewellery-maker Mike Finny. Shetland is home to many artists and the rugged land, sea and sky weave a distinct yet diverse pattern of art, music and knitwear. It was quite interesting to hear Mike talk about his work and inspirations.

Along with the studio visit I was completely bowled over by the stunning views through the car window as we drove on to Anne's place. Hills, water, croft houses, stacked rock fences marking the land, vast changing skies were everywhere as we wound our way through sheep covered hills. Shetland ponies grazing against stark backdrops of rigid purple hills, and the light-the LIGHT!. The mysterious moody light in Shetland entices me to no end.

Anne and husband Mike live in 'Papil', Burra Isle. The name Papil is a Norse reference to the papar. 'This name can be found in the form Papyli in several locations in Iceland. However, it is not just Papil's etymology that suggests the site of an early (8th century) church, confirmation has been found in the form of the "Monk's Stone", which was dug up in Papil and which is now in the Shetland Museum.  A tall, narrow slab, it features a distinctive circular crosshead, and carvings of monks and a Pictish lion. Below this are two “birdman” figures holding a human head between their beaks.' http://www.stravaiging.com/history/pictish/stone/papil-stone#sthash.iFkP22jX.dpuf

Shetland has a vast history dating back approximately 6000 years. 'Throughout the islands there are clues in the landscape to the challenges and resources that shaped the lives of past inhabitants. From a national perspective, it is arguably the most exciting place in Britain for discovering and interpreting the past. Prehistoric field systems, Bronze Age burnt mounds, Iron Age brochs, Pictish wheelhouses, Viking and Norse longhouses and post-medieval fortifications all serve to offer a rich tapestry of well-preserved and visible human settlement.'
http://visit.shetland.org/archaeology-alive-discover-the-ancient-secrets-of-shetland

Anne's lovely home is located very close to Meal Beach. Shetland boasts many stunning beaches-this one has white sand!

As I write, the studio is being pelted by rain and crashing waves, the force nothing to what Shetlanders are accustomed to. Shetland seems invincible. I like that. I like that it isn't exploited by burger kings and macdonalds and starbucks. I like that people look themselves, not generic and processed. I like that agricultural land sits next to the sea. I like that culture and history are nurtured, not bulldozed. I like how right now, in this moment, I feel a sense of place in time, and that I am here.

*a sincere thank you to Anne for a wonderful day!

April 8

days wandering, the tide brings new gifts.

Back to oil re painting-the one below  (Shetland 6) was made on waxed panel, 8x10in, available for sale.

April 6

Today: light. water. edges. Pushing pigment on these tiny surfaces (6x6 and 8x8in) with different media and tools is a good challenge-still working out the kinks.

If you have pre-purchased one of my works via the Wild in Shetland crowd-funder, and fancy the available 6x6in painting featured here, please speak up-it can be yours!

Shetland 5, acrylic & gesso, 6x6in, sold

 Shetland 4, acrylic & gesso, 8x8in, 110.

 Shetland 3, acrylic & gesso, 6x6in, 95.

Tonight: wandering to see what the tide brought in-found some interesting things-thank goodness I brought the backpack!

 April 5

The walk today found 'Tirricks' by Joanna Redmond, and some fodder for art making-the wood smells of sea

On the left is a first attempt at bannocks-although they aren't supposed to be round, they tasted pretty good.

Monday, April 6, 2015

I thought that I would have this blog up and running before now. I arrived in Shetland on April 1. (No, this is not an April Fools joke). Right now all of my senses are on overload. I will write more -but can’t now.

I have been posting short goings on to my facebook page and copied them below. More when I come back to earth. Thank you for your patience.

April 1

I'm here...finally!!! view from the studio

April 2

 haven't worked with acrylic for quite awhile-edges are tricky-but it felt really good to push paint around-not the best photo and might go back into it-or not. On a warning note to artists travelling to residencies over the pond, going through UK security: when they ask what you will be doing: do NOT answer with 'working' or 'residency' -instead, say 'painting' and 'retreat' otherwise they will think you want to establish residency and employment there-they don't like that-they REALLY don't like that.'Shetland 1, acrylic and gesso on canvas, 12x12in copyright Jan Yates 2015

April 3

A walk around Scalloway

 

 

April 4

when I returned from the walk, I found some feathers on the stone rail-and a feather trail in the water-was there a battle?-survivors? made a portal just in case...the wet feathers put me in mind of fish...

October

The leaves were falling on all sides like the last illusions of youth under the tears of irremediable grief. A brood of chattering birds were chasing each other through the shrubberies, and playing games among the branches, like a knot of hiding schoolboys. Every landscape is, as it were, a state of the soul, and whoever penetrates into both is astonished to find how much likeness there is in each detail.

- Henri Frederic Amiel

October

oil on canvas, plein air, 16x20in

 copyright Jan Yates, 2013
available

about time

On a grey day I find the Forsythia to be especially enchanting. It soon will be gone, so I made the time, to respond one last time, en plein air.

 May, last of the Forsythia, oil on canvas, 11x14in

copyright Jan Yates, 2014. available (300, secure online payment via paypal, shipping arranged)

 purchase here

Next time what I'd do is look at
the earth before saying anything. I'd stop
just before going into a house
and be an emperor for a minute
and listen better to the wind
or to the air being still.

When anyone talked to me, whether
blame or praise or just passing time,
I'd watch the face, how the mouth
has to work, and see any strain, any
sign of what lifted the voice.

And for all, I'd know more -- the earth
bracing itself and soaring, the air
finding every leaf and feather over
forest and water, and for every person
the body glowing inside the clothes
like a light.

-Mary Oliver

pure, undiluted, untouched

Forsythia is pure joy. There is not an ounce, not a glimmer of sadness or even knowledge in forsythia. Pure, undiluted, untouched joy. -Anne Morrow Lindbergh

I try to book my painting time around the fleeting May blooms. Forsythia waits for no one and I was at her beck and call.

 

 May, oil / cold wax on canvas, 12x48in, copyright Jan Yates 2014

shared seeds

Many of our gardens are grown from shared seeds, planting memories of time and place. 

When I make these seed packet paintings I feel connected with my Mother. This one in particular, as she always had something red growing by her window or in her garden.

 Garden corner 4, encaustic, copper, seed packet, seeds on panels, 4x13in, copyright Jan Yates, 2014. 
(160.secure online payment, shipping arranged, purchase here)

push-pull

This is another sketch to be considered for a large commission.

 Working small allows for experimentation and play. I have been changing /testing mediums (I like to make my own) as well as underpainting with cold wax and a lovely orange/red by Kama pigment.

Of course, what is underneath affects the work, so thinking through an idea helps, although often when I prepare surfaces, the physical process sparks the idea. I like the push-pull of planning and spontaneity.

*i also played with knives

 

 Escarpment fog (May), oil/cold wax on canvas, 8x10in

copyright Jan Yates, 2014