I am delighted that we now have a brand new website for my paintings and drawings. Please visit me there for more details and information about purchasing my work.
I shall, for the time being, not make any more blog entries here as there is a blog at my new site
https://normanstaines.co.uk
I am really grateful to Lucy Maddison who designed and constructed the new site for me. You can contact her at https://lucymaddison.com or email info@lucymaddison.com
Monday, June 1, 2020
Saturday, November 16, 2019
Studio 17 Group. 2nd Exhibition 23 November 2019
Studio 17 had a great exhibition in December 2018, and this year we are showing a little earlier on November 23rd. We are hoping to see many old friends and many new visitors. Again, around a dozen artists will exhibit, all new work, and all or almost all for sale. The majority of pictures are in oils, but acrylic and mixed media figure this year as well.
Our venue will be St Michaels Centre in Elmwood Road, Chiswick W4 3DZ. The show will be for one day only, and all friends are cordially invited to the Private View from 6pm onwards, but failing that we hope to see you during the day from 10 am.
These are some paintings I will show. If you are unable to come to the showing and are interested in any of these, please contact me directly by email
Our venue will be St Michaels Centre in Elmwood Road, Chiswick W4 3DZ. The show will be for one day only, and all friends are cordially invited to the Private View from 6pm onwards, but failing that we hope to see you during the day from 10 am.
These are some paintings I will show. If you are unable to come to the showing and are interested in any of these, please contact me directly by email
Storm in Glen Muick, Cairngorms Acrylic paint on canvas 500 x 400 mm Framed £250 |
Chevin Woods above Otley, Yorkshire Oil on canvas 650 x 900 mm Framed £400 |
Insomnia Defeated Acrylic and oil on canvas 400 x 400 mm Framed £280 SOLD |
Brancaster Staithe, Norfolk Oil on canvas 500 x 400 mm Framed £300 |
Mt Arena, Fuerteventura Oil on canvas 400 x 400 mm Framed £280 SOLD |
Fuerteventura towards Lanzarote Oil on canvas 460 x 610 mm Framed £350 |
Doubtful Sound, New Zealand Oil on canvas 650 x 900 mm Framed £400 |
Baelo Claudia (IV) Oil on canvas 500 x 400 mm Framed £300 |
Monday, May 27, 2019
Catch the phosphenes
Even when our eyes are closed, and even
when it is dark, we see, or appear to see, spots and shapes of light. These are
mostly white, although they can seem to be coloured. In my case they are often
a dull purple or silvery-orange. But really the colours defy a proper
description. The shapes themselves are unstable, they vary and fade, morph into
others and float around. Talking to friends, it’s reassuring to know we all see
these lights – they are known as phosphenes.
These also make up after-images, but if you keep your eyes closed for a few
minutes, the after-images disappear and these amorphous phosphenes appear.
Here are five small sketches, based on some
of my phosphenes. To make a picture, I sit with my eyes firmly closed and with
a pencil or a pen draw lines and shapes on paper that correspond as nearly as I
can make them to the floating images I see with my eyes shut. I use my
fingers on the page to roughly keep the image in bounds. The square ones here are
11 x 11 cm, the other is A4 size.
A drawing takes perhaps only 10 to 15
minutes, and although a short time, I find it surprisingly energy-consuming in
its heavy concentration. Afterwards, I use the line drawing as a basis for what
you see here. Not much more is to be done, but I fill in some spaces with dark
pencil, sometimes a bit of shading. Or I add a wash of watercolour.
Phosphene I Pencil 11 x 11 cm |
Phosphene IV Pencil 11 x 11 cm |
Phosphene V Pencil 11 x 11cm |
These drawings are not meant to be anything
other than a catching of floating lights in the eyes.
You might say these are nothing but
scribbles and squiggles, even the type of doodles you might make during an
enforced session in a conference chamber. Having had my share of experience of
the latter, I can tell you these, at least for me, are very different.
Why not try it yourself?
Monday, May 20, 2019
Aldeburgh and the parcel pen
Aldeburgh lies on the great shingle beach of the coast of Suffolk. This is a great and mysterious place to walk and enjoy the North sea and the open skies. The weather can change rapidly and in this picture I have tried to capture the wildness of a March day when rain was threatening continuously, when the winds blew cold and bent plants growing among the shingle and blew us along towards Thorpeness.
This is a view back towards Aldeburgh which I drew and painted shortly afterwards, mostly from memory. This is a watercolour with indian ink applied liberally with a lovely old parcel pen. It was used originally to write on parcels (obviously) with that pervasively odorous black ink rarely found nowadays. The pen is a blunt weapon which I felt perfect for the heavy skies and windy beach.
Towards Aldeburgh Watercolour and ink 285mm x 195mm Mounted and framed £55 |
This is a view back towards Aldeburgh which I drew and painted shortly afterwards, mostly from memory. This is a watercolour with indian ink applied liberally with a lovely old parcel pen. It was used originally to write on parcels (obviously) with that pervasively odorous black ink rarely found nowadays. The pen is a blunt weapon which I felt perfect for the heavy skies and windy beach.
Audascript Parcels Pen E Wolff & Sons Patent |
Thursday, March 21, 2019
Waterloo Bridge, Doubtful Sound, Fuerteventura and Woolacombe: New Paintings
One of London's river bridges that links the South Bank to The Aldwych as seen from one of the balconies of the Royal Festival Hall. It was a cold grey day when I was there making some hasty sketches and taking photographs. This is one take on the river and the bridge. I worked close by for several years, so this place has a personal memory for me. I read somewhere that this particular incarnation of the Waterloo Bridge was built and completed during WW2, and that the labour force was largely women, and as a consequence it is affectionately know as the Women's Bridge.
Waterloo Bridge from the Festival Hall Oil on canvas 60 x 45 cm POA |
Doubtful Sound
There is a wonderful fjord in the South Island of New Zealand where Captain Cooke is reputed to have observed from the sea that he would probably never be able to get out if he entered it, so he sailed on by. We visited (from the land side) on a damp moody day, which turned into bright sunshine while we were there. The sides are awesomely steep, scared by so called tree slides and decorated by precipitous streamS and waterfalls after the morning rain. A wonderful subject to paint, and although this is not the view Cooke would have had, I have tried to capture is serenity and depth.
Doubtful Sound, New Zealand Oli on canvas 65 x 90 cm POA |
And here are two small watercolour sketches of the alps in the South Island. The terrain is boundlessly exciting and I can't imagine ever tiring of drawing and painting it.
Terminal moraine on the Fanz Josef glacier Watercolour on paper |
The Southern Alps Just down the road from the end of Franz Josef Watercolour on paper |
Fuerteventura
From a high peak, a sheltered mirador gave a fine view across the island to distant Lanzarote. Once covered in trees, now gone, this is a barren island where farmers have to work hard to make a living. The whole landscape has a dusting of sand and looks like the wilderness in the middle east. In fact the sand in Canaries has been blown there from the Sahara: this is Africa, but away from the continent.
Fuerteventura: from the mirador Oil on canvas 45 x 60 cm POA |
Woolacombe, North Devon
One of my favourite coast lines, Woolacombe itself has a beach almost 2 miles long, and to its north there is a series of small coves, and this is one of them. Visiting last week, the sea was wild and the wind howled from the great storm that had made landfall in the south west. During a moment of rare sunshine and no rain, we watched the water boil and loose its strength on the rocks, but there were massive amounts of spume flying around, created from seaweed mashed and destroyed by the heaving seas. No surfing for anybody during the week.
Wild sea at Woolacombe, Devon Oil on canvas 50 x 40 cm POA |
Thursday, January 3, 2019
OUT, IN and OUT AGAIN
This year, 2019, our country will leave the EU. Probably. However one voted, whatever one thinks, the situation we find ourselves in at this late hour with no definable deal is a trifle worrying. At the time of the referendum, 23rd June 2016, I painted a series of pictures, using our back room as a metaphor for the country. It is time (I think) to share them.
Room ONE 1973: We were OUT, but the government decided we should be IN Acrylic paint on paper Imagining the room as we first joined Europe in January 1973 |
Monday, December 17, 2018
A few more watercolours
These are some mounted, unframed watercolour paintings I like and would be happy to see in new homes. If any interest you, send me an email please: norman.staines@btinternet.com
North Devon Beach Watercolour 253 x 193 mm Mounted |
Alum Cliffs & Beach, Isle of Wight Pencil and watercolour 213 x 155 mm Mounted |
Thames at Strand on the Green Watercolour 225 x 280 mm Mounted |
Doubtful Sound Aotearoa, South Island Watercolour 255 x 210 mm Mounted SOLD |
A fragment of Minsmere, Suffolk Watercolour 270 x185 mm Mounted |
Loch Muick, Balmoral, Scotland Watercolour 215 x 180 mm Mounted |
Glen Muick, Balmoral, Scotland Watercolour 340 x 240 mm Mounted |
North from Snowdon, North Wales Watercolour 290 x 215 mm Mounted |
Looking west after the storm Loch Na Keal, Isle of Mull Watercolour 325 x 240 mm Mounted |
Benagil, Algarve Aquarelle and pencil 315 x 200 mm Mounted |
Minsmere RSPB, Suffolk Watercolour 320 x 260 mm Mounted |
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