View from the temporary bridge


Following on from the recent  courses in Faversham, our spiritual guide for the April Porthleven painting course was Peter Lanyon, whose lifelong search for new perspectives ended tragically with his early death in a glider accident in 1964.  We met at the studio early Monday morning, and after a talk about Lanyon's life and work we set out with a twin purpose: to get to know Porthleven through drawing and to search for ideas for painting. The afternoon painting session in the studio was intense with three different exercises geared to start three paintings in different ways. One began with colour, one from abstracted drawing, the third a drawing in paint of the harbour from memory with the discipline of a blue stripe down one side and a horizontal divide.




Tuesday was a gallery day. After seeing Jessica Cooper at Kestle Barton, whose work inspired many of our artists, we visited Tremenheere and had a top lunch before going to see a Gillian Ayes print show and an exhibition of sculptors' prints, 'With Space in Mind'. A personal favourite were the Anthony Gormley etchings of the figure. Then we went off to St.Ives where the highlight was a fine exhibition of St.Ives artists at the Belgrave Gallery.

Wednesday morning began with a half-hour demonstration where I began my own Porthleven painting, inspired by the yellow gig on the walk to the studio. With the Lanyon talk, the drawing, the exercises and the many wonderful pieces we saw on Tuesday, the artists were now fully primed for painting. Over the next three days the artists worked incredibly hard, moving their paintings forwards, working towards the exhibition on Saturday.




Around 2.30pm on Friday we put down our brushes (almost everyone - no names EA!) to clear the studio before hanging the show. This all went smoothly and we managed to show nearly all the work including Richard Barton's astonishing eight canvases. A very strong exhibition once again and to celebrate the achievements of the week we all went out for a delicious meal at The Square restaurant in Porthleven.


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Great to be challenged to work quickly and try things out and keep moving painting along. Enjoyed having the history of the artistic contect, and particularly Peter Lanyon as back drop to working.

Elizabeth Aspinall

 Always stimulating and thought provoking, not to mention challenging some preconceived notions!

Mitzi Delnevo

Ashley was very good at spending time with each individual and his comments and input were always very helpful. As a result I feel I made some very good progress during the week.

Richard Barton

 Porthleven 29 Lowen Mor 70x50cms 2017 Copy
'Porthleven 29 - (Lowen Mor)'   70x50cms


The yellow gig, 'Lowen Mor', with its' black stripe against a beautiful blue becomes the palette for the painting, made during the recent April Porthleven course. It looks different, playful, spacious, graffiti marks/hieroglyphics describing structure and incident - I feel it has that desired and elusive balance between freedom and control.  The painting follows the instruction given to the artists on the course to place a blue stripe on the side of one of their canvases- an idea designed to break the tyranny of the horizon and the automatic reflex of putting a blue sky at the top of the painting. The blue stripe can be sky, or sea, or a stripe or a vertical or a division of space or a colour to bounce off....

 Pyellow boat 2 Copy


Many thanks to Dave Benbow, one of the artists on the course, who took these photos of the painting in progress and also some videos which we'll try and get uploaded soon giving further insights into my process and thinking.


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The painting was actually started a couple of weeks ago during a talk and demonstration I gave to the Truro Art Society (below). It was a very enjoyable evening and I have fulfilled my promise to the society, that, although obscure at the beginning, the painting would become 'Porthleven 29'.


Ptruro Copybeginnings....

Peter Lanyon Solo Flight new Copy
Peter Lanyon 'Solo Flight'


 ‘It is impossible for me to make a painting that has no reference to the very powerful landscape where I live’ 


Last October, when I announced that the next Freedom in Painting workshop would be 'Looking at Lanyon', the fact that the course filled up very quickly, as did a second workshop put on to fulfill demand, pays testament to the enduring popularity and influence of one of the leading lights of the post-war St.Ives School. And so, recently, there was a remarkable gathering of thirty Lanyon enthusiasts (including myself) at Creek Creative in Faversham, Kent.....

On these 2-day workshops, the aim was not to produce a pastiche but to look at Peter Lanyon's work, ideas, passions and methods as a springboard into another way to approach painting. Using his painting 'Solo Flight' (above) as a start-point, the artists were asked to bring to the workshop evidence and memory of a recent journey, including their own unique 'journey-line', printed off from AA Routefinder....

Both workshops began with a talk about the concept of flight and an in-depth review of Peter Lanyon's life, work and influences. Then, in a replication of one of Peter Lanyon's innovative ways into painting, the artists were asked to make a construction/sculpture, with the theme of 'movement', from card, perspex, string, clay, dowel and anything else to hand, using their 'journey-line' as a key component. Thrown in at the deep-end and with limited materials, the artists responded to the challenge with an array of playful and inventive constructions.


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In the afternoon session, the artists painted from the constructions, considering them not as a still-life but as 'experiments in space to establish the illusion and content of space in painting'. Adding to the complexity of the painting, into the mix went drawings, image, colours, ideas, memory from the artists' journeys. The aim of all the Freedom in Painting workshops is for the artists to explore the possibilities in painting and have in front of them something they have never made before. With a new beginning to a painting.....

The artists worked on this painting until mid-morning on Day 2. Then I gave a demonstration of frenzied mark-making and decision-making, using motifs from my own recent journey to Looe, as encouragement for the artists to make a freer, quicker second painting in a squeezed amount of time.  During the introductory talk, I had inevitably referenced Peter Lanyon's 'Porthleven' (1951) and the story of how, because of the disintegration of the original painting that had taken 14 months to make, Peter Lanyon painted a replica in four hours - the painting hung in the Tate. 


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in the studio


As always, the workshops ended with an invaluable group critique. The exercises were challenging - full credit to the artists for their response. The paintings from the workshops can be seen on The Freedom in Painting Group page on Facebook. This was an experimental workshop and many of the paintings in the galleries are works in progress but I hope all the artists can take away from the workshop ideas and inspiration from Peter Lanyon's own journey, life and work. If there was ever an artist that personified Freedom in Painting it is Peter Lanyon.


Very instructive and informative. Really felt I achieved going over my edge. Ashley works really hard for us.   Margarita Hanlon

Stimulating and challenging. Very useful - expanded my perception.  Mitzi Delnevo

 Absolutely great course, talk was fascinating and construction idea was great - even if i went off brief!   Heather Johnston

Banjo Pier 40x30cms Copy
'Banjo Pier'   40x30cms 


The demonstration painting from two back-to-back Freedom in Painting workshops 'Looking at Lanyon'  in Faversham, Kent - started in one, completed in the other. This sticky painting survived both the journey home and the scrutiny afterwards. The instruction to the participating artists was to bring to the workshop evidence and memory of a recent journey. My own journey was a trip to Looe, with its' distinctive banjo-shaped pier....


This painting looks different, with the incredible tension of the Lanyonesque spiralling- line contained - just - by the structured lines along the bottom edge and right corner and the circle (of the 'banjo-pier'). A frenzied demonstration of mark-making designed to encourage the class to a freer second painting. Image and ideas and reactions forced into the painting. Cerulean and Ultramarine mixes in pots, palette and on the canvas.. a failed pure, poured curve...quick thinking, quick reactions..lets find another solution. Only traces of my journey- line remain - the start-point in the top left corner- but it has made it's contribution to how the painting moved forward to its conclusion.  Five dots reduced to two - 'The pink-dot a triumph' (Kathleen Alberter). Pourings, smears, brushwork, knifework, lines, curves, image, jostling for prominence and harmony. A sliver of yellow enough to provide an incident of colour and temperature contrast...


Echoing the submerged imagery in Lanyon's work and his alleged discovery of the two figures in 'Porthleven' after the painting was completed, only today did I see the tilted head, shoulder and forearm resting on the bottom edge...or a gestural line encapsulating movement?...or skywriting, vapour trail?. Spacial ambiguities: the view from the ground or the air?..if there is a 'view'...Abstract/figurative - who cares? Peter Lanyon was right to fight against putting art into boxes. It's a painting: both from an outside experience and the thrills and uncertainties of the painting process. What am I looking at? - this is my territory as an artist. 

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Dawn Stephens


The latest venue for the 'Freedom in Painting' roadshow was the Queens Arts Centre in Aylesbury.  The theme for the 2-day painting workshop was 'Still Life', one of the major genres in Western art. After a talk on the history and lineage of still life painting - including discussion of the work of Chardin, Cezanne, Matisse, Braque, Soutine, Morandi, William Scott -  the eleven artists were split into three groups. Each group set up their own still life of six objects which included objects brought in by the artists themselves. The morning was spent drawing: three very different exercises resulted in a wall of drawings that opened up several possibilities for painting..... 


After lunch, when the paints came out, inevitably everything slowed down. Paint is a slower medium, with the added complexity of colour and wetness plus the artists were asked, initially to paint the still life as it was (with a twist) The aim over the next day and a half was to capture in paint the spirit, freedom and invention of the drawings. This certainly happened with everyone's work on the second day, which began with a freeing painting exercise. The resulting paintings are proof that a still life doesn't have to be still!  Below is a gallery of the paintings from Day 2- to see the full gallery see Freedom in Painting Group 


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Amanda Curbishly


antonia 2 Copy
Antonia Glynne-Jones


pippa 2 Copy
Pippa Greensmith


Kalpana Mehta Day 2 Copy
Kalpna Mehta


Mitzi 2 Copy
Mitzi Delnevo


erica 2 Copy
Erica Shipley


brenda 2 Copy
Brenda Hurley


jo 2 Copy
Jo Rollnick


di o 1 Copy
Diane Oldfield


di1 Copy
Diane Bedser