‘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.
Small Cape-sugarbird painting and two new scarf designs based on the Irises and Foxgloves and the abstract seascape from Pringle Bay. Hours grappling with the enforced software changes as Apple eliminate third party software. Buffel’s dune walk, beach and graffiti. Calf muscles a tad unhappy with the soft sand and steps. Not nearly as unhappy as my bum muscles after their first ride back
Studio busy with tourists and a new banner up against the black of the building site next door giving some visibility for the studio. A small painting of Cape Sugarbird, and two canvases prepared for the Greyton Art Walk next month. I will be painting there for a couple of days and need the canvases dry enough to travel. Resupply of paint a tad extreme.
‘Princesses for a day’, oil on canvas 60cmx90cm in its new home. The wonder of cortisone that enabled me to run at times that were maddingly quick. Scary. Blood sugars surging into the stratosphere. For now, sticking with the low insulation dosage, with copious amounts of water and exercise to bring them down into something mangeable. A small study of a Springbok, the scale of
'Etosha Study' Oil on canvas 45cmx25cm Greenish, white clay of the ‘Great White Place’. Pale-golden colour of the grasslands against blue skies. The green-grey from Cobalt Blue and burnt Seinna, mixed with Cerulean Blue. The white-grey a mixture of Ultramarine Blue and Burnt Umber. Also the grey mixture I used for the elephant. Chef Hirsch crafted (another) fabulous dinner. Avo, pea, mint with smoked salmon, blue
A couple of small elephant paintings. The rough canvas, acting like ‘wag-'n-bietjie' (wait a moment) thorns, gripping my fingers as I tried to create the sketching lines of the painting, to resemble a charcoal drawing. An a usual grey mixture of Ultramarine Blue and Burnt Umber. Wobbly legs after the trail run through the forest. Thrilled that despite the uneven footing, little additional shoulder
'View to the Heads' 20cmx20cm It’s been awhile since I did the 30 paintings in 30 days challenge. Normally a calendar month thing, a middle of the month start doesn’t seem to be too out of place. The focus, the popular 20cmx20cm canvases, which have my fingers in weird contortions. However, I’m happy to let each day dictate what gets painted. While my visit to
'Irises and Foxgloves 2' Oil on canvas 72cmx72cm Thrilled to be part of the Winter One Fly Anti Rhino Poaching Charity event held in Dullstroom, where my painting of the rhino ‘Unicorn’ was part of the auction. The auction alone, raised R390,000.00 for anti-poaching support. Based out of Skakuza, in the Kruger Park. I have finished fiddling with the second of the ‘Irises and Foxgloves’ paintings.
'Irises and Foxgloves 1' Oil on canvas 76cmx104cm Stopped fiddling with the first painting of Irises and Foxgloves. Wiped some of the paint from the canvas where it felt too heavy, and darkened some of the edges of the various shapes creating the journey through the composition. Sounds of Spring while out jogging. Burchell’s Coucal calling from the bushes, and Fish Eagle’s against blue skies. Not
Decided I wanted to do a companion painting for the Irises and Foxgloves. A square format, so not a traditional diptych. A tad concerned that the square canvas i was able to get is a tad small. Unexpectedly the painting of the nature garden in Montagu that has been in our kitchen for years is off to its new home in Port Elizabeth. From the