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- Ashley Hanson
SAT 4 JAN 2025
An exotic palette for my first painting of 2025, 'Porthleven 77 (Kasbah)'. The title came after: a memory of Matisse's 'Entrance to the Kasbah', sparked by the curves at the back of the harbour. Enjoying the seductive colour, the delicious ambiguities between piers, shapes and spaces, and the unexpected echo of the top red curves in the bottom right corner.
'The frisson between information and imagination, shape and space, line and mass, strength and fragility, deliberation and chance...'
'Entrance to the Kasbah' 1912 Henri Matisse
The painting began with play: repetitions of small blocks of colour with variations of tool, direction and scale (left). Paint on paint, paint adjacent, paint through paint, paint removed. Originally in a landscape format, the central dark marks formed a tentative harbour-shape. Changing orientation, in a painting full of possibilities, I flooded the canvas with a lemon-based yellow, isolating the marks that excited me most - the grouping of small blocks now along the bottom edge (right).
I saw this grouping as the harbour entrance and this simple line drawing on scrap paper became the template for the painting, bringing in structure, context, meaning and difference, with the twin curves springing from the central axis a new element alongside the familiar.
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FRI 10 JAN 2025
Further extravagencies; new blues and a tear of hot pink in the centre of the top-left pier, which I thought was a bit of a dead-zone that broke the horizontal. It was a choice between light and colour...I went with colour. Lush: loving the intrusion of blue inside the red, softening the red-shape and echoing the transparent green pier below. Denise is now in love with the painting enjoying the new shape 'and the colours are singing'.
18 DEC 2024
'Red Harbour' has come a long way since its beginning in November 2015! Love the writhing reds - more Soutine than Matisse now - the density of colour, the punctuations of blue and green, the curious open-shape formed by the angled line on the right springing back from the bottom edge, leading the eye back into the heart of the painting. Big thanks to Denise for sparking this rework, she never liked the big shape in (4), finding it awkard and cumbersome.
Back in 2015, the start-point was a drawing I made from the fisherman's pier in Porthleven, picking up the rhythms of angles and triangles of cranes and boats, the slipways and the buildings behind. You can still see elements of the drawing in the top third of finished painting, the quayside, angled slipway and triangular crane.
The early stages closely followed the drawing (1) with a sap-green glaze over the slipway adding interest, its liquidity and transparency subverting reality (2).
(1)
(2)
The painting really began when I put the drawing away and turned the canvas: immediately the imagery was less obvious, the space more interesting, almost sculptural in (3), forms, structures are hinted at rather than illustrated, the marks and shapes and colours with their own interest. Now we are looking at the whole harbour, with its three distinctive kinds of water, separated/broken down by the two central pairs of piers. The slipway becomes a pier and the outlines of buildings a geometric language for moving water.
In (4), the painting became a homage to Matisse's 'The Red Studio', the painting, more than any, that has influenced my work. In the bottom-left corner is a tiny linear 'red studio', the Old Lifeboat House where we run our courses. However, I was never happy with the shape of the red mass and the relationship between the four central piers. If you look at Matisse's painting, in the glorious expanse of Venetian Red, each of the individual elements has a strength and character, each contributing to the whole. In my painting, only the transparent green pier had a presence.
'The Red Studio' 1911
Below are two stages of the reworking last week. Firstly bringing in more reds and changing the piers and surrounding blue but the shape became too rounded (5). The breakthrough came with a new dense blue/teal on the left, framing the harbour and bringing in a powerful patch of cobalt-blue to provoke the reds. The last moves were replacing the white streak with a wristy blue curve, and a flash of bright green in the top pier.. The finished painting is much more lively in both colour and movement, less reverential to Matisse and stronger for it, but, I hope, with the same 'presence' of red.
P.S. Soundtrack: 'Brilliant Trees' by David Sylvian., 1984. '..drowning in my nostalgia....'
Bjork, 'Debut' and 'Post', Neil Young 'Southern Man'
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For our latest Online 'Freedom in Painting' workshop we looked at the life and work of Nicolas de Stael, a leading figure in European postwar painting, with his distinctive language, pared-down compositions and expressive colour. . As always our ambition was not to simply paint in the style of De Stael but to look in depth at De Staels's paintings, ideas and processes and channel this into our own painting.
In advance, the artists were asked to choose landscape or Still Life as their subject and bring along studies/drawings to the workshop.
Artists studies
Jan Bunyan's studies of weeping willows and water
The course began with an introductory talk and slideshow, highlighting the radical shifts in De Stael's paintings in a relatively short career, working on the borderline between abstraction and figuration. De Stael's quest was for significant form, a way of doing justice to what he saw and what he felt doing it.
After the talk, I demonstrated the first group exercise: taking a simple shape, a De Stael 'block', a circle or triangle and painting it six different ways, finding unity, difference, interest in sameness.
Carol Hayslip
Throughout his career, De Stael's paintings were often sourced in memory and from simple line drawings in his notebooks. Taking this lesson, the artists were asked to further reduce their studies into simple line drawings, where shapes and negative spaces subvert reality, opening up new freedoms and possibilities. You can see this in Carol's work above where a different drawing can lead to a painting with a different emphasis.
Over the 2 days, the artists developed their paintings further, punctuated by individual tutorials and further demonstrations, as I worked on my 'Red Cranes, Falmouth' painting. As you can see from the striking paintings in the gallery below,our artists successfully tuned-in to the spirit and ambitions of De Stael.
'True painting always tends to all aspects, that is to say, towards the impossible sum of the present moment, the past and the future'
ARTISTS GALLERY
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ARTISTS COMMENTS:
'Enjoyed the workshop enormously - a brilliant introduction to De Stael's life and work - loved that images were also sent for reference - enjoyed the simple but clever initial excercises that helped launch us - pressure with time and getting ready for tutorials helped push boundaries and new ways of working - seeing how Ashley worked so flexibly over composition in oils was liberating and incredibly helpful - also hearing and seeing how other's worked.
Enjoy that I can listen to Ashley wise and considered comments rooted in so much experience - as a result I got a lot out of the tutorials - and also the final group discussion - seeing everyone's work - hearing and giving feedback' ANNA BADAR.
'I really enjoyed the workshop. I think the best bits were the interesting research you did at the beginning and the first exercise to get us going. I hadn’t done much painting for a while and it inspired me to get going' BARRY KELLINGTON.
'Thank so much Ashley and Denise for a great enjoyable informative course' MITZI DELNEVO
'Enjoyed the workshop – good to be painting and part of a group again' JAN BUNYAN
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SUN 8 DEC
Inspiration, information, imagination...a day in Falmouth becomes a painting. Enjoying the colour - the flow of the blues - the geometry and the spatial intrigue. The large orange crane became red, bringing more weight and presence and the lines and circle were strengthened on the crane on the right. Three green marks makes the colour sing...
The breakthrough came when the blues flooded through the centre (4), freeing up the space and forming a fabulous stepped-shape within the rectangle of the canvas.
A tribute to Nicolas de Stael, who inspired our recent online workshop.
The drawing on the left is a composite drawing from two photos, finding a relationship between two cranes amongst the verticals and triangles of the boats. What stopped me in my tracks in Falmouth was the meeting of the end of the large crane and the angled spar from the mast on the left and the beautiful shape/negative space below.
The drawing on the right, with a simplified composition, became the template for my painting, with the boat on the left bringing another dynamic triangle to the painting, forging its own relationship with the crane on the right. Because the lines drawn with a felt-tip pen have equal weight, a fabulous pair of parallel-lines popped out in the centre of the drawing which I took forward into the painting.
Action man! Great photo by Denise....
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'Porthleven 75 (The Last Room/ICON)' 45x35cms
'This painting was inspired by Rothko's reds in the Seagram Murals, currently on show in the last room at Tate St. Ives. Into a scenario/composition based on 'Red on Maroon Mural, Section 4' 1959, I instinctively placed the iconic clocktower into Rothko's vertical central space, before breaking down the structure to reveal my harbour. Every red in my paintbox, I think...'
In progress, Mark Rothko, paint-pots
'Porthleven 76 (Hot Red)' 70x60cms
After the adrenalin and excitement of a new painting, you have to get up and do it again. The blank canvas awaits. If 'Porthleven 75' was inspired by Rothko, this latest work made me think of these inspiring words from Frank Auerbach: 'What I'm trying to make is a stonking, independent, coherent image that has never been seen before..that stalks the world like a new monster...'
On a yellow ground, with a confusion of marks and strong black drawing, I introduced floods of yellow and orange, both mixes including a new colour, Michael Harding French Yellow Ochre (No. 133). The right-side switched from yellow to blue, then the left to create a frisson with the orange. I seemed to be re-visitng the concept of 'hanging-harbour'...The division into three equal sections troubled me so I brought in a new hot red (including French Yellow Ochre) to create imbalance and energy/movement. The breakthrough came with reversing the canvas and a new tension with the spring of the bottom-line and the small red-shape, flexing its muscles in a sea of blue.
In progress
