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‘White-on-White’, or perhaps I should be calling it the ‘Absence of Colour’?. The addition of acrylic Matt medium to the white paint, creating the contrast between the Agnes Martin inspired bands. My eyes feeling like I’m in a snow-storm, white-out! Graphite lines, a guide. Infuriating in the smudges of grey in the increasingly annal fixation with line and purity. The flex in the canvas,

Forest Oil on canvas 90cmx120cm Special Recognition for ‘Art of Outstanding Quality’ at the 10th Annual International Landscapes Exhibition. Chosen from 740 entries and 27 different countries around the world. The Forests, bursting with spring flowers. Yellow, purple and white blossoms. I wanted that slightly misty, ethereal quality to my painting. Summer lightness, and brilliance. Without being insipid. That touch of Paul Cézanne, yellow and turquoise. White-on-White. Preliminary

Two of the small cheetah paintings handed over to their new homes, and another one finished. My shoulder trashed. Seven passes ride, the section to the bike-park and back. Stunning through the Forest. Or the bits I could see through sweat stained glasses. Core muscles strained over the corrugated trail. Which, the storm and howling winds, danced over. Still, an opportunity to try another of

My commissioned painting ‘Etosha’ received a Special Recognition Award for art of ‘Outstanding Quality’ at the International 10th Anniversary Exhibition. Selected from 2,249 entries and 34 countries. While I’m thrilled to benchmark my work by an international jury, it’s nothing like seeing a child enthralled by a painting in which he is a subject. Adam, and the painting ‘Children in the rain’, which

Cheetah painting taking shape. Working hard to keep the ‘sketch’ feel to the painting as my concept for the work is an artist working while out on safari. This of course, a tad different in the 1,5mx1,5m canvas! A few niggles to sort from the first Virtual Oyster Festival live-streaming painting demonstration from the studio. Hopefully sorted for the next session. Still, a most

‘Rain Day’, 60cmx50cm. Khartoum, Sudan. Children reveling in the uniqueness of a rain shower. I wanted to capture the happiness of celebrating the small stuff. Particularly at this time of disquiet and upheaval. The acrylic for the dark background, frustrating. Dull and lifeless. My worst! Shoulder trashed slicing chocolate for a Tarte au Chocolat, https://janraats.com/tarte-au-chocolat/ something I haven’t done since I smashed my collar-bone. The texture,

Incredible to receive a Special Recognition Award for ‘Excellence in Art’, ‘Hold the Open Heart’, Created in Isolation Art Exhibition. Erica’s, sensational in the sunrise as we hammered along the Ridge Road. Tai Chi, silhouettes. Fascinating. Unexpected. Friendly faces in an unfamiliar part of our town. Biscotti, that end of day indulgence. Keto, for my wildly fluctuating blood sugars. The charts, off the scale. Yellow Ochre

Terry's sister Jenny. After a massive stroke. Has passed on. Unfathonable. And so it begins. Canvas stretched on an old frame for the study of Cheetah cubs from a photo by Hirsch (https://www.gravelroadadventures.co.za/). I’m leaving a 45cm border, and will use acrylic paints, so the painting can be stretched properly once it’s done. That will also take care of all small tear in the canvas.

’Memory of France’ Acrylic on canvas 90cmx60cm The painting of France a tad more laboured than it would have been if we had been traveling in France, as I would be rushing to do as many paintings as possible in the limited time. However, I'm pleased that it doesn't feel overworked. The loose canvas giving me a hard time with lines that didn't behave

‘Hold The Open Heart’Oil on canvas over newsprint 100cmx150cm Straight lines not the easiest with my fingers. I did contemplate using a marker pen, but decided the sharp edges from it would be too big a contrast with the rest of the painting. More than normal shakes in my right arm after the bicycle crash that broke my clavicle make painting a tad difficult.