Straight lines and dodgy eyesight. Not that I was ever any good at putting up things in straight lines! However, with my ‘diabetic trampoline’ blood sugars these days, I’m not actually sure I’m able to even see when they are skew.
Wall-easels up in the studio with the paintings surviving the first onslaught of wild weather. My shoulders not enjoying the ‘Sistine Chapel’ contortions at the top of the ladder putting up the new track lighting. No blood involved and only one case of having to back-track the connections to find my incorrect wiring.
Terry’s modifications to what I thought would work, resulted in a cleaner look without the old overhead fluorescent panels. A mix of warm and cool white LED globes at 60 and 120 degrees giving energy efficient light that is gentle without compromising effectiveness.
A gazillion different ideas about what to paint for my demonstration slot at the Arts Festival Gala Night. Acrylics for a crowded auditorium with a bunch of other stuff going on, the sensible choice. Didn’t expect to be doing so much of the painting with the palette in the dark! The abstract-impressionist subject of the macro of the pincushion forgiving to errors in selecting the incorrect colour.
‘To The Water’ heading to its new home from our private collection of paintings. An opportunity to display different work in the apartment.
Fabulous cycle down through the forest and up the Gouna Pass road. Fighting to keep upright on the loose stoney surface as the road gradient increased. Grateful that I didn’t need to worry about traffic.
Oil on canvas 76cmx102cm
An abstract approach to the painting of summer flowers in Steenbok Park. Responding to the abstract painting that Kirsten is doing that buzz with vitality.
The flowering coral tree reminiscent of Klimt’s painting with his ‘waterfall’ of blooms down the canvas, I struggled with dull, flat red colours on the canvas. The yellow of the hibiscus gave way to the orange-red curves of the flame-lily flowers. I softened the painting with the gentle colours of the agapanthus flowers.
One of those perfect mornings for a run, winding up through the forest with a light rain falling. Even the hills felt manegable.
Vietnamese food preparation. Oodles of time needed for all the fiddle bits. Terry modified the pork stuffed squid to account for my diabetic restrictions. Eliminating the sugar and first reducing the pineapple and tomato sauce to a tasty gooiness that also looked amazing.
The Pho was delicious, and much easier to eat at a table with decent sized chairs on a cool day, rather than the humidity of Saigon. Tasty fried Spring Rolls (using the air-fryer rather than oil) with crab, pork and prawns. A dry version of the ‘dipping sauce’ with crushed seeds and peanuts. The first of the recipes for the Diabetic Sensitive cookbook.
Knysna Art Society. Loved the clean, simplicity of the revitalized Old Goal space. Wondering how I can replicate the feeling with the modifications planned in the studio to create a larger area, and still manage all my stuff. Far too much stuff!
Somewhere I missed recording the sweet potato gratin recipe.
Sweet Potato Gratin
- 1/4 cup butter
- 2 cups heavy cream
- 1 cup shredded Gruyère cheese
- 1/4 teaspoon freshly grated nutmeg
- 4 medium sweet potatoes, peeled and sliced 1/8 inch thick on a mandoline
- Kosher salt and freshly ground black pepper
1. Preheat the oven to 375°F.
2. Melt butter over medium heat and whisk together the cream, cheese and nutmeg until smooth.
3. In a 10-inch square baking dish, arrange an even layer of sweet potatoes. Drizzle with a few tablespoons of the cream mixture and season with salt and pepper. Repeat with the remaining potatoes and cream, seasoning with salt and pepper, to form 8 to 10 layers. Press down on the layers to totally submerge the sweet potatoes in the cream mixture.
4. Cover and bake for 30 minutes. Remove the cover and continue baking until the cream has been absorbed, the potatoes are cooked through, and the top is browned, 30 to 45 minutes. Remove from the oven and let rest for 15 minutes before serving.
Oil on canvas 122cmx41cm
Streaks of colour, an abstract expression (Action Painting) of quickly rendered gestures, capturing the essence of emotion, painted directly from the paint-tube onto a horizontal canvas on the studio floor.
The bending over playing hell with my back!
Being less than comfortable at what I was doing, and even less sure as to the result, I used paint that was still lying in my ‘magic box’. Struggling to keep the colours clean and not to control the abstract approach.
The unusual technique entertaining those who passed the studio.
Oil on Canvas 90cmx60cm
The beach paintings of Joaquin Sorolla are full of movement and life, capturing the innocent pleasure of children in particular. This, my inspiration for the painting of the Boy and his dog.
Bold strokes, on an underpainting of Naples Yellow that pushed into the abstract expressionism boundaries for the painting. For the shadows in the painting, I used Purple Madder (Van Dyk 38) with Cadmium Yellow Deep as a contrasting colour. A mixture of Raw Sienna and Rose Quinacridone contrasted with Cobalt Blue for the water. Touches of grey made from Indian Red and Cobalt Blue were used to add sparkle to the white. Flashes of Magenta to ensure the unpredictability of the beach.
Phenomena When I Looked Away, 1960
Paul Jenkins was an American painter who came to maturity during the reign of the Abstract Expressionists. Born in Kansas City, Missouri in 1923, he studied at the Art Institute in his hometown from 1938 to 1941, and then served as an apprentice at a ceramics factory. Afterwards, he moved to New York City to attend the Art Students League under the G.I. Bill. He remained until 1952, befriending fellow artists Jackson Pollock and Mark Rothko, but choose to move to Paris after a year to escape the dominant influence of Abstract Expressionism. While abroad, he discovered the effects of staining a canvas as opposed to painting on it – color by flow instead of application. This interest was sparked by his earlier work in ceramics, translating the luminous effects of glazing to a new medium.
Upon his return to the United States in 1956, he encountered the works of the prevalent American Color Field painters Helen Frankenthaler and Morris Louis, after which he fully took to the technique of staining. Jenkins applied oil paint or thinned acrylic to primed white canvas, typically starting at the corners, and manipulated its flow by adjusting the canvas’ position, sometimes also using blade-like devices to direct the paint further. He normally used bright, bold colors in his works, all of which he gave titles that began was the word “phenomena” beginning in the 1960s. His works are indeed phenomena – something that is impressive and extraordinary.
In a 2009 review of his work, Roberta Smith described his paintings as “too beautiful for their own good.” Jenkins worked in this mode for the entirety of his career. He was the subject of two major retrospectives at the Houston Museum of Fine Arts and the San Francisco Museum of Art, both in 1971, but he received the greatest critical attention in 1978 when his work was featured in the movie An Unmarried Woman. Starring Alan Bates, the movie chronicled the life of a Manhattan artist; the works supposedly done by Bates’ character were actually those of Jenkins, who reportedly spent weeks coaching the actor in the finer points of his working process. Jenkins died in New York City in 2012 after a short illness.
Randy Kennedy, “Paul Jenkins, Painter of Abstract Artwork, dies at 88,” The New York Times, June 12, 2012