Keith Water

A small film about a small river.

I’d seen this delightful little film on Caught By The River, and when I asked Jonathan Gibbs if we might share it on Frames of Reference his reply was Yes, absolutely, great! Isabella spent all of lockdown with us, during which time she filled her bedroom with twigs, branches and other bits and pieces that you will see in the film. She made the herons out of wire and wood, and carved many small fish which swim through the film from start to finish. And then he showed me a website I’d not seen before, called Psyche. The words below are taken from their anonymous post. Continue reading “Keith Water”

Frames of reference

100 Days

#100

Earlier this year, on May 23rd, Jonathan Gibbs embarked on an ambitious series of small works, a hundred meditative variations, one every day for a hundred days and each one posted regularly on Instagram. He was inspired by the 100 Days Project, an initiative started by Emma Rogan in 2011 to repeat a simple creative task every day for the duration and to record each day’s efforts. Continue reading “100 Days”

Frames of reference

Kingswalden Park

This was another summer walk, back in July when it seemed like whenever we were not working we were walking. Walking had become our substitute for going out to the cinema, the theatre, music gigs, galleries, restaurants, shops, markets. Sometimes while out walking we might risk visiting a pub, but only if we could sit outside. Covid lived inside. Today we parked on the village green at Preston in Hertfordshire, beside the Red Lion pub. But its door was closed, its garden was empty and there was no public convenience. I needed a tree. I could think of little else, winding the village paths out to pasture and greatly relieved to find this welcoming field maple. Continue reading “Kingswalden Park”

Frames of reference

Epping Long Green (2)

We first discovered Epping Long Green a week ago – Epping Long Green (1) – but then realised we’d only seen a part of it, so today we came back to explore its full length. We started from Epping Green and walked west, retracing our steps from last week as far as this fingerpost. Then we turned around and walked back and continued east to the furthest extent before returning to where we started from. But not before a quick figure-of-eight turnaround in the woods. Continue reading “Epping Long Green (2)”

Frames of reference

Painting In Suffolk

Over the last five years I have spent most of my time focused on painting forests around the world, often with the aim to highlight the destruction that is happening within them. It has taken me to some incredibly beautiful and majestic places, introduced me to plants and trees that I couldn’t have imagined. However, one of the most surprising things I came back with after my first trip to Brazil in 2015 was how I then saw my home landscape through a completely new set of eyes. I suddenly noticed the curls in the leaves and twists in the branches everywhere, moving me to paint them. And although my work is still mainly focused on global deforestation I now regularly paint outside in my home landscape in Suffolk. Continue reading “Painting In Suffolk”

Frames of reference

Epping Long Green (1)

Epping Forest was busy. There was plenty of space for everyone to walk comfortably, but it seemed like social distancing among the trees had become the new normal, and the car parks were all full. Previously, as a last resort, we’d parked on the roadside at Baldwin’s Hill. The bonus was a glass of beer from the doorway of the Foresters Arms, before plunging downhill into the forest for a gently meandering walk along Loughton Brook. But today it felt safer to avoid the crowds, and instead of going into the centre of the forest, I looked for somewhere quieter on the outskirts. Continue reading “Epping Long Green (1)”

Frames of reference

Sowing Seeds

In January I went to live and work in a small tribal village called Badanga in Rajasthan, India, along with international and national artists for two weeks. We were all selected to participate in the annual Sowing Seeds residency program, which has been hosted in different towns of Rajasthan for the past seven years. This was the first to be run at the farmhouse of Chiman Dangi, artist and founder of Sowing Seeds.  The whole village, especially the children, were very excited. Continue reading “Sowing Seeds”

Frames of reference

What Is Paintable?

Through The Trees

My primary interest in painting for the last 40 years has been how to depict and respond to a range of landscapes. Before I can begin to think about painting a place, there has to be a specific reason to do so, and the place must have a particular resonance with me. My recent work can be divided up into three groups: paintings of Tuscany and Umbria, paintings of Andalucía and paintings of the Thames Estuary around the RSPB reserve at Rainham Marsh, not too far from my home. Continue reading “What Is Paintable?”

Frames of reference

The Empty Streets

A friend kept phoning us in the mornings of late April and early May. She was, rather against her will, still gallantly fulfilling her duties at an office in Oxford Street. She disliked being there and feared the possible consequences in mid-pandemic. But the reason she kept phoning was to tell of her exuberance in the early mornings at being able to walk the length of Regent Street alone and in the middle of the street. She described the complete peace and quiet in the utterly empty street free of people, free of traffic. Continue reading “The Empty Streets”

Frames of reference

For Kai

photo: Alastair Grant

Kai arrived at The Rowley Gallery over 30 years ago, I can’t be sure of the exact date, but her name back then was Kathy. And to all who knew her in pre-Rowley days she always remained Kathy. But there was already another Cathy at The Rowley Gallery so she abbreviated her name to Ka. That was her Chinese name. But pronounced Kai, so that was how she spelt it thereafter. To avoid confusion. Continue reading “For Kai”

Frames of reference