The much
anticipated day of the seminar arrived and I woke up in a hotel in
London with a painful scratch down the middle of my chin, acquired
sometime in the night. My family assured me that they hadn’t
noticed, whilst talking to my chin. Lovely stuff, at least I could
stop worrying about my hair going frizzy in the damp heat of an
unexpectedly glorious day, no-one was going to notice.
I had a
little time to spare before the seminar, so took the family into the
exhibition to have a look around and get photographed with my pencil
drawings. The student section is amazing to see, and easily holds
it’s own with the main exhibition. It was lovely to see the work
of people I have been in touch with who have finished the course.
All too
soon it was time to wave off the family to their own adventure and
make my way up to the second floor where we were gathering for the
seminar.
There were
several lecture tours of the exhibition, on differing subjects, to
sign up for, and I signed up for most of them. Luckily, I left a
few sessions free, the tours were running back to back and it all
became a little frantic at one point with students rushing up three
flights of stairs and through corridors, only to rush straight back
down to the basement again for the next lecture. And getting very
hot and bothered in the process.
I did find
time to watch my tutor for the last three assignments, Sandrine
Maugy, showing how to drop colour onto wet paper and just let it
flow. Possibly one of the most difficult things to do in
watercolour, as the need to ‘direct it’ can be overwhelming.
However watching and talking to Sandrine about this technique made me
realise I have been too busy trying to ‘make’ the colour do what
I want when I should be sitting back and letting it happen. No
wonder I’ve had trouble reserving my highlights.
I
particularly needed to talk to the tutors about my sketchbook - ‘am
I doing it right?’ as I have never really kept a sketchbook of my
workings for paintings, I’ve always been a spontaneous, let it
happen kind of gal, rather than planning everything to the last
detail. But I am seeing the value of trying out several compositions
and colour schemes, and doing colour tests before starting. I’m
even beginning to put ideas onto paper that have nothing to do with
what I’m working on, for future reference. Now that’s progress.
I also
needed to discuss with my current tutor the problems I’m
anticipating about working in the field. In this part of Wales, it’s
more likely to be ‘working in the bog and marsh’ especially if
this summer is anything like last year, which it’s likely to be as
I’m on this course. It’s just my kind of luck that we bought a
nice big tent a few years ago so we could have some cheap holidays
with the dogs. A month later it started raining and we had the worst
floods this country has seen for centuries! We were booked to camp
in the Cotswolds and all the surrounding area was under water for
weeks. We managed three days and still packed up in the rain!
Anyway, I
wanted to discuss what my options might be if the weather does what
it has done for the last five or six summers and it looked like bog
snorkelling was my best bet. I now have a few options I hadn’t
thought of and none of them include bog snorkelling.
Unfortunately,
during the first lecture tour, my daughter tried to ring me, and my
phone wasn’t switched off as I had thought. It’s a very loud
ringtone as often I’m in a musical setting which can be quite noisy
and sounded even louder in the hush of the echoing, exhibition hall.
Being a new phone I couldn’t switch it off at first and,
understandably, the tutor looked very annoyed. As I struggled to
find the off switch people started to giggle, until most were roaring
with laughter as I panicked and dropped the thing, then retrieved it
whilst apologising profusely. Finally, I managed to switch it off,
and the lecture continued. Later, whilst discussing my sketchbook
with Kay Rees Davies, the phone went off again. I was mortified, and
yet again couldn’t turn it off quickly, until everyone was
laughing. I did manage to kill it completely this time though.
Somehow, I don’t think I’ll be forgotten, but what a way to be
remembered, the woman with a red stripe down her chin, with frizzy
hair and a mobile phone that kept going off! Not at all the
impression I’d intended making.
I imagine that everyone sympathized with the embarrassment of the ringing phone--it has happened to most of us! Wishing you the best as you continue on in the course. Bog snorkeling might be an interesting feature for your field study...?
ReplyDeleteOh Polly, I love the picture you paint!!!
ReplyDeleteI can just imagine how you felt.
I love the wet on wet approach - nothing better than seeing the watercolour do its magic without too much interference from us ... but then again I need to work more on the dry brushwork.
Working in the field is a tough one - the workload is huge - lots and lots of sketches and notes. We had to do it in the searing heat of summer when everything was burnt and dry - but there were still options and I am sure you will find something in your boggy marshland :)
Sonja Beer (White) did one of the most beautiful working in the field artworks I have seen - if you get a chance to view it on FB - and Sonja is from Wales.
Best of luck - hope you will share the results with us :)
Just found your blog Polly. Great post, we have all been there. Working in the field is perhaps the hardest one as your sketchbook pages play such an important part and getting the habitat right all adds to it. Sounds like you will have a good one to do though and as Vicki says, do try to see Sonia's piece on FB. Good luck and I look forward to hearing about it.
ReplyDelete