I have always loved this little sketch (above) and it is my latest project. Why does it work? I have done loads of drawings, and now am at the stage of monoprint experiments. Today I came up with this series of prints (below) to which I have just added a few lines of charcoal. I think this has promise. I would love to do some large versions of this.
A quick canter through this project, from the original publicity photo for a Springsteen album to the final abstract version. Thinking shapes and colour. Feeling free to create!
Here I am returning to a favourite subject – a family of horses which for years lived in the field next to me . I used to glimpse them everyday through the canopy of trees as I drove past. I am excited to be looking at this subject again especially after working on spatial and abstract series. Here is a set of 16 little sections, and a sample of one of them. Each is a seed for further work. Only the trees remain, as this ancient field, “The Seven Sisters” has succumbed to houses and streets and also lost its rich wildlife.
Here is a version (800 x 600 mm) which considers space rather than detail. Becomes clear that the upper part of the picture is lighter with the dark silhouettes of the stationery horses outlined. Below that there is a very dark area and then the scrub and foliage. I really enjoyed that!
I was still not satisfied. I still felt bound to the subject. Although I loved the subject, I felt there was something else to explore, and I made 16 little canvases 360 x 280 mm from sections of the original photo. I am getting nearer a new and deeper level, in which each area has its own energy and life. But it takes time. I particularly enjoyed the foliage. Here are a few of those little pieces. I am realising that the key is the horse silhouettes. Those are the most interesting for me.
The series of small paintings have now thrown up a deep library of shapes and ideas. Here are two “travelling” versions of the subject, done spontaneously, drawing on the haptic knowledge gained from creating the small paintings.
Super time making drawings which explore space but which are mostly born from imaginary subjects or are distantly related to real ones!
All charcoal and paint on canvas 800 x 600 mm More in the pipeline to make a series of six
Very excited to announce upcoming publication of this new book in July 2024
Felicity George worked as a research scientist at Edinburgh university, and then in industry, before moving on to study and work with horse psychology and behaviour. She has owned horses for thirty years, and worked with horses and those who wish to learn about them for nearly 20 years.
Sharon has owned horses for more than 20 years, is a registered riding coach, an EBA Registered Psychology Specialist, and has a masters in Applied Equine Science from the Royal Agricultural University.
Dr Marie-Lousie Holmes is a HCPC registered Chartered Clinical Psychologist and lifelong horse owner, with 27 years experience in both NHS and private clinical practice.
The book features around 50 colour and black and white illustrations by Diana Hand within the text.
Find out more and buy:
I am revisiting a series of images from my 2022 exhibition “The Nature of the Horse”. Here is the first one. I would like to explore it further and create a different version which will form a proposal for a new exhibition, centred again on the “private life”of the horse quite separate from humans. So far I am simplifying the original into tonal shapes and translating it back into colour again. I begin with just three tones plus black and white. It is surprising how much information just those shapes can convey and how much freedom of expression.
Below are my first experiments and sketches from the subject.
I have cut out the main shapes and translated them into colour. I will take this into a collage. Again, the simplicity is pretty powerful. I am learning an amazing amount from this exercise! The piece is already finding a different aspect and voice.
I am now experimenting with colour – keeping the same palette and tones but getting looser. These are the cut out shapes again. Once I have really grasped them, their tones and their colours I will start to play with them. I know I am moving with this project but it is still fluid.
I have made some collages from the basic shapes and am using them as the springboard for further abstract interpretations.
Here I have made interpretations (left to right) of the collages in layers on a large canvas 1200 x 1000 mm. I was not happy with the final stage, so I reworked the canvas using elements from the different collages (see large painting below). It has been an interesting experiment. I prefer the lightness of #1, but I wanted to take the experiment as far as I could. I now feel I really “know” the subject and am confident enough to make some small paintings using ideas and elements from the project.
Further searches for the ultimate abstraction
I am inspired by recent visit to Patchings Artfest to revisit and complete some favourite drawings.
“Big Mystery” A large mixed media work on canvas. Charcoal, chalk, collage and paint. 100 x 120 cm.
“Horse’s Head” Charcoal and chalk drawing from imagination, on paper 50 x 42 cm
Demo drawing from imagination in charcoal and chalk 60 x 40 cm
Had a successful show at Patchings Artfest. It was a pleasure to meet new friends from all over the north and midlands of England. I found it very inspiring to engage with the public and other artists after the long period of covid isolation.
Here is me demonstrating! With some of the results.
The final statement “Meghan Carrick Essentials” – charcoal and paint on 800 x 600 mm stretched canvas. This definitely relates to the monoprint stage, but I am satisfied that I explored many possibilities.
Looking more deeply at the shapes by creating a three dimensional structure based on drawings, and creating collage pieces from it.
