Plantations - Gala Water

oil on card 31x20cm

There's a music track to go with this - Return 2 (song). It's quite a repetitive trancey piece, but if you get it going just now I'll come back to the why later. Meantime, this painting's image source was a photo I took a few years ago while on the Borders Railway, which runs alongside the main road through the Gala Water valley to Galashiels. The precise viewpoint is not far south of the Heriot A7/B709 junction, a few miles into the Southern Uplands, almost here.

The initial composition was put together very fast, which led to several problems I should have worked out before starting. It was originally all about the interesting shapes of the fir plantations within the valley, but I misinterpreted my single photograph, and began pursueing a series of rather panicky solutions in trying to fix it. Helpfully, there were some streetview sources very close to where the original photo was taken, which presented more information and some new options. Deciding not to slice a couple of centimetres off the bottom edge of the picture, I shifted the foreground grass-line and shrubs up a centimetre or so to flatten the problematic middle distance area in front of the trees and the valley. I had by now lost control of the tones and was become a little desperate. After a good long sit-down and think, my decisive remedy was to darken the entire landscape with a neutral Ultramarine/Raw Umber glaze, and it was at this point (I was playing some of Richter's hypnotic epic 'Sleep') that 'Return 2' began. As the landscape fell under shadow, the sky above it began to glow and open up; the blue became more intense, the clouds became animated, and the unhappy painting began to breathe easier and nodded me towards an alternative conclusion. The sky – that just happened to be there at the time – presented itself as the interesting thing, and the new overall darker tone let me get away with a much more two-dimensional landscape. Bacon gratefully saved, or at least not gone to waste. (And having said all that, there's some quite effective scratched paint in the foreground grass line)

Thinking about it now from the safety of having finished it, if I was to do this piece again (I won't), I would probably have kept the same proportions, but would have stretched the landscape down to deepen the 'bowl' of the valley, and steepen the curve of the wood that describes it; an easy thing to do in photoshop. That may have made the near grass line (with its quite effective scratched paintwork) and shrubs unnecessary. Maybe not, but at least I would've tried it out first before committing to it. I might even have realised how potent the sky was right at the beginning.

As my art teacher at school, Mr Knight, told me several times - 'Work an idea out to destruction or until it doesn't work, then do what worked just before that'.

Hmm. Flippin' know-it-all art teachers. Never there when you need them.

Now, some interesting stuff. The Borders Railway runs from Edinburgh to Galashiels, with a slightly anti-climactic terminus at Tweedbank. It was one of the swathe of railway lines culled in the late 1960s, but was rebuilt by the Scottish Government after a long campaign. When it opened in 2015 its popularity was found to have been somewhat underestimated – it is single track for a lot of its length and is usually quite full. It's also a pity that it didn't quite make it the two miles further to Melrose - an already developed tourist town with a fine abbey (ruins, unfortunately, like the other Border Abbeys, but that's another story). Once you're out of the Lothian ex-mining towns – Newtongrange, Gorebridge – the line rises into the hills proper, where it's flanked by medieval castles. The train crosses and re-crosses the river and road going south, the turns and valley sides getting tighter and steeper as the line approaches Galashiels. There are, apparently, plans to extend the line to Melrose proper, and eventually to Hawick, and thence to join the main West Coast line at Carlisle. Something very much to look forward to.

I just hope they work it all out properly before building it...

 

Six Geese – Krasny

oil on panel 91x61cm

There is most definitely music to go with this - a short but exquisite little piano prelude by Scriabin.

The location of the source image for the painting is a small village strung-out over a mile or so called Krasny, about 35 miles south-west of Rostov-on-Don, in Southern Russia. It's a calm and serene evening in September, and the geese are wandering back in from the fields. The main village is further along the road towards the sun, where other flocks of geese have gathered and some family's cow is wandering about. It's quite the Arcadian rural idyll. The painting is, of course, about the contrast between a beautiful setting and a nastiness within it.

Compositionally, it's fairly simple, and is little changed from the source image. I've replaced the telephone pole with a figure, and have juggled the geese a bit (one was a hen facing the wrong way, and that would never do!). Otherwise it's a straight transcription of the source. The light was a big attraction: the low sunlight is just catching the trees, and the geese are walking directly into it. It's a very useful device to channel the eye's sweep across the picture, and I quite like the geese being at the intersection of the crop marks and the direction of light.

Hopefully the eye explores the landscape and birds before it settles on the figure. I've tried to blurr him a bit into the grass and shadow, except where he has a hard edge against some lighter grass beyond. The figure is based on a posed photo I took of myself. I'm getting increasingly uncomfortable conducting google image searches for bodies - it's a miserable thing to be doing. The human elements are very important when I include them in a painting, and if it's possible for me to model them myself, I'd much prefer to do that where I can.

As usual this piece was built up with oil layers – mostly fairly transparent – over thin monochrome acrylic drawing, so the final tones were 'arrived at' rather than fixed at the beginning. Apart from in the sky, any paleness in colour is most likely due to the white primer shining through the paint, as in watercolour. The sky fades were done with several wet-on-dry layers, as opposed to a single blended wet-into-wet layer. The pale yellow and pink layers being applied in turn onto the blue with a wide mottler brush, then beaten and faded upwards with my 75mm Big Badger Blender Brush. I have my eye on an even bigger 100mm one, which should make larger and softer fades like these a lot easier and smoother.

Apart from a bad lapse of judgement with a furious orange glaze (Indian Yellow and Transparent Oxide Red) over the central field which caused severe palpitations when I saw it the next morning, the painting of this piece went fairly smoothly.

Despite the composition being relatively simple, there are some bits of painting that I'm quite chuffed with – the sky transitions, the light through the near edge of the wood and the landscape beyond, and the controlled curve of the wood coming over and down the left ridge. There are some effective bits of transparent paint where the grass is backlit – notably just above and to the left of the figure. They are a nice contrast to the more opaque bits of paint on the left where the Sun catches the slope, and the crops around the geese.

Returning, finally, to the village, and its name. Krasny красный – is a very interesting word in the Russian language. It means 'red', but has other very positive associations. It is the root of красивый 'beautiful', and прекрасный – 'wonderful'. A beautiful girl is a красавица. It's also used in describing the special corner – krasny ugol красный угол – where holy icons are traditionally placed. Not that much of a surprise, then, that the 1917 Revolution became so deeply rooted in Russia when its imagery was all about 'Red'.

I noted earlier how quiet and idyllic the scene is. Now, if you go back to the source image in streetview, and turn your viewpoint around to look behind you, you can meet some of the villagers...