Amazing that it's been four years since we opened the studio on Thesen Harbour Town. First light. Fabulous cycle through the Forest and up Homtini pass. Legs struggling to turn the pedals on the steep, rough sections. Shoulder complaining at the abuse. Shaking hands not the best for a finger painter Etosha. Cobalt Blue and Burnt Sienna grey mixture to soften the edges of the
'Etosha Study’, painted as a demonstration at the Greyton Art Walk, on a wet summers day. Thrilled with the ostriches that are full of movement and simplicity. Boulilli de boeuf. A variation on the beef short-rub, served with a spoonful of sauce vert. Despite being packed with flavour and impossibly rich, a tad underwhelming. Strawberry Fields from Graceland, mouth watering. The aubergine tomatoes, mozzarella, fresh
Beach walk at Sedgefield before a quick stop at the market for blue skies organic salt. Studio busy with holiday tourists and the canvas for the Etosha commission on the easel. An underpainting of two blue-grey mixtures. Ultramarine Blue and Burnt Umber, as well as Cobalt Blue and Burnt Sienna. Dashes of Cerulean Blue adding depth. Fabulous dinner. J9. Chef Coreta. Amuse-bouche of Chev, melon,
'Leisure Walk’, a small painting in the series of paintings I’m doing for the Greyton Art Walk. Hijacked by Terry for her desk. 'Forest Elephant’ the most challenging. Slow grilled beef short rib, on the Kamado Jan, while tasty, not fantabulous. Even with the button mushrooms and bacon, Gordon Ramsey assistance. Mistakingly having the short-rib sliced into strips didn’t help,as they cooked too quickly, without
‘Why Should I Hesitate: Putting Drawings to Work’, the William Kentridge exhibitions At the Zeitz MOCAA Of particular significance for me, the inclusion of his studio practice within the exhibition was fascinating and how the video’s of his works have been developed into the stories that, while profoundly disturbing, capture his whirling mind within the environment that directs his creative process. ‘The studio is central.
‘Why Should I Hesitate: Putting Drawings to Work’, the William Kentridge exhibitions At the Zeitz MOCAA Of particular significance for me, the inclusion of his studio practice within the exhibition was fascinating and how the video’s of his works have been developed into the stories that, while profoundly disturbing, capture his whirling mind within the environment that directs his creative process. ‘The studio is central.