I will have a few artist proofs available to buy soon and they can be reserved by contacting me directly. Click here to reserve yours now!
However, the first and original Super Moon is still available to buy here!
Super Moon
And, if you’re quick, you still have time to grab one before Christmas!
Better still, you can get 25% off the usual price using discount code BLACKFRIDAY
“The theme of the sea also comes up again and again in the work of Fife Dunfermline Printmakers Workshop in the Lesser Hall in James Street. Also part of the invited programme, this artist-run cooperative brings together a range of artists working in different styles and media. Particular highlights include Clive Ramage’s striking etching of the moon and Catherine King’s large monotype landscape, capturing weather, clouds and water in saturated shades of blue and grey.”
And I am also delighted to report that 3 of my Blue Moon prints sold on the very first day! That means there’s only 2 left to buy from the very limited edition of just 20 numbered prints!
One of 3 Blue Moons sold at Pittenweem on opening day. I wish this framed one had been left there for the whole show! I’ll have another framed for my NEOS event in September though, where I’ll also have some artist’s proofs for sale. Some lovely work also on show here by my Dunfermline printmaking colleagues Catherine King (left), Olga Krasanova (bottom right) and Peter Kirley (top right).
This moon etching really does seem to glow as brightly as the real thing and it makes a beautiful and bold statement on any wall. It comes from an extremely limited numbered edition of 20 and they have consistently sold at the few shows I’ve entered them.
Here’s a video of me pulling a print from the copper plate just last week …
There are now only 2 numbered prints left, plus a few artists proofs (which I’ll be holding on to for my North East Open Studios (NEOS) event 10-19 Sept 2022 – more details to come!).
Me with my moon print at the preview on Friday night
So if you want your very own Blue Moon to gaze at whenever you like then get in touch with me now or follow the link to my shop and bag yours before they’re all gone!
My Dunnottar Castle print at Pittenweem alongside work bt Peter Kirley (left) and Bethany Snaddon (right)
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Original, hand-made etching printed on 310gsm Hanhmuhle etching paper.
Limited to an extremely small edition of only 20 prints.
Image size: 57.5 x 47 cm (22.5 x 18.5 inches)
Paper Size 71 x 53.5 cm / (28 x 22 inches)
Shipping: The print is sold unframed, but lovingly wrapped and rolled in tissue and packaged in a tough cardboard tube for protection. UK p&p is £20 and shipping time is around 2 weeks. International delivery is £25 but allow up to 3 weeks.
I thought I’d post a few pictures from my new studio here in Aberdeen. I’ve been working up here for a few months now and have really enjoyed getting back into painting with oils. Having my own studio again is wonderfully liberating, as I can work much more freely and splash the paint and thinners around without worrying about getting it all over my furniture at home! It’s also great to have all my work materials out of the house and to be able to find everything I need within arm’s reach.
I also became a member of the very highly regarded Peacock Print Studio earlier this year. Working there has been a real eye opener on many levels, and having the entire space to myself (thanks to Covid!) has felt like quite a privilege. But I’ll dedicate a post to all of that at a later date.
So, in the meantime, here are a few pictures of things I’ve been working on recently at my studio in Eagle House.
Rattray Head (WIP)
This first one (above) is an oil painting of Rattray Head Lighthouse, between Peterhead and Fraserburgh. Some of the pebbles in the foreground were carefully painted while others were literally lashed onto the canvas using a liner brush with a very runny mixture of oil paint and thinner.
This second Rattray Head picture is a larger version I decided to do after feeling quite happy with the first. Both need further fine tuning though. The lighthouse painting below it will be built up in painstakingly slow glazes to convey an altogether different mood using a different technique.
The following 5 pictures are the products of my end-of-the-day palate scrapings (as I like to call them). When I’m finished working on the main picture each day, I basically smear together all the colours left on my palate and add a little oil painting medium to produce what Whistler would call his ‘soup’. He would apply this liquid paint in streaks across his canvases to produce many of his nocturne paintings. This painterly ‘soup’ often produces the loveliest of greys which I then use as the ground for future paintings. These sky and beach pictures were done this past week from imagination and I’ve yet to decide how to finish them off.
Cloud and beach studies (WIP)
A rather messy corner of my studio
Bennachie (WIP)
The above picture is a quick sketch I did this week of beautiful Bennachie. I’ll work it up into a finished painting, but quite like the dreamy quality of it as it is. And below is another of Rattray Head from a different angle and then there’s Catterline, one of my favourite places to paint and to spend time.
Rattray Head and Catterline
So that’s what I’ve been doing this past week or two. Every week I intend to start a whole new batch of pictures and finish at least some from the previous weeks, and continue on in this vein for many years to come. So as long as I can keep my studio (and lungs and head!) free of turpentine fumes, I’ll also try to keep posting regular updates on what I’ve been working on and also where the work will be available to see and buy.
I have these two large pictures for sale at Gallery Heinzel’s upcoming Winter Show. Opens on the 9th Nov and runs until March 2020.
Three Views of The Bass Rock
Three Views of The Bass Rock Oil and gold leaf on gesso-primed hand-made paper (126x52cm framed)
The above painting has been over a year in the making. It glows and looks great in this frame with non-reflect art glass. The tiniest touch of gold leaf adds a very subtle beam and sparkle to each of the lighthouses. I’d liked to have kept this one for myself, but needs must!
Non-reflective glass allows more light and colour to bounce back from the picture rather than off the glass. This also means there’s no annoying reflections that prevent you seeing the picture properly. It’s very expensive but well worth the money and I’ll be using it more from now on.
This Harvest Moon etching is the 3rd variation I’ve made from a single copper plate. This edition is the result of a seemingly never-ending series of painful and time consuming trials with various ink colours (each pigment having its own peculiarities which can make or break a picture). I’m finally happy with this combination. Fellow printmakers have asked how I got the blackest ink and palest orange together without a gap or mixing the two. The simple answer is with great difficulty, as both colours are wiped onto (and off) the plate together for a single pressing. For every successful print two others went in the bin. This is by far the most difficult print I’ve ever made!
This is number 9/20 and is framed and available at the gallery, but there are more unframed copies available. I also have some Super Moons and only a very few Blue Moons left for sale. Contact Gallery Heinzel or myself directly if interested.
The show opens with a preview between 11-2pm at Gallery Heinzel this coming Saturday.
