Why I Love David Jones – A Talk at Tenby Museum

I gave a talk on why I love David Jones at Tenby Museum on Friday 16th September. This was a personal reflection: I have loved his essays, poetry, paintings and lettering for many years, and he has had a profound influence on my work.

Thank you to everyone who attended, and to those who commented appreciatively on the night and and afterwards by email.

One painting of mine which was clearly influenced by his work is the card I made for Llandovery College on the occasion of the re-dedication of the chapel organ in 1991.

For anyone interested in David Jones’ work, a quick Google search will return a number of useful sites.

I would love to do this talk again! If anyone would like the text, please email me. 

 

 

 

August Drawing Workshop

We started by looking at what drawing – as opposed to painting – really means. I loved Michael Ayrton’s quote “…an artist may draw to give order to his thoughts, whereas he may paint to give ease to his heart”. And Baudelaire’s “the draughtsman is the philosopher of art”.

We then explored how the different drawing tools not only affected the marks you made but the way you thought. After line drawing (negative spaces again) we went on to tonal drawing. Then several people got really stuck in to copying reproductions of drawings they liked. Others tried drawing without looking at their page, with their left hand, with their eyes shut and even drawing things you couldn’t really see…

‘Seeing the Sea’ at Tenby Museum and Art Gallery

After so many years of drawing and painting the sea this seemed a fitting subject for an exhibition at Tenby.

Until I started to prepare for this show, I had not realised for how long I had been seeing the sea, and for how long it has been an undercurrent in my work.

‘How frail our craft, how great yon sea’ is a telling metaphor for the human condition. Afloat on this fierce and fragile sea, safe harbours sometimes turn out not to be as safe as we had hoped; a prospect of the sea from a curtained window, a tiny sail on the horizon, all these can be rich in association and meaning.

I extend warm thanks to everyone at Tenby Museum; they have all been so helpful and efficient in preparing for the show and the hang was faultless. Also to my aunt Mollie, who, at 101 years of age, suggested the title Seeing the Sea.

Seeing the Sea continues until 4th September at Tenby Museum and Gallery

Watercolour Workshop June 14th

Claudia Myatt said (http://www.claudiamyatt.co.uk/blog/)

” …a watercolour workshop with Elizabeth Haines, who has an inspirational studio in the Preseli hills, and a profound understanding of how art works. She is particularly good at getting students to try new ways of working, experiment and see where the painting wants to go. I had a thoroughly enjoyable day…………”

Art & Music Workshop at BrynMorris May 14th 2011

It was a marvellous day: Seimon Morris played various chords and sequences which we listened to carefully, and then visualised in colour the character and intervals in each one; this included the unresolved dominant 7th at the end of Messiaen’s L’Ascension. (During this some swallows were chirping in the barn – wouldn’t Messiaen have loved that!)

12 versions of Tallis’ ordinal were played in different keys, and everyone wrote down what they thought was the character of each, having briefly discussed aspects of tonality, and then did a coloured image of their reaction to one of them; some amazing similarities here.

We visualised a journey through Bach’s strictly tonal 1st 2 part Invention, then listened to Birtwistle’s Imaginary Landscape and each did paintings which expressed their understanding of this very different journey. My friend the composer Erika Fox was here, she knows Birtwistle and loves his work, and gave us some salient insights into the music. Even people who never usually listen to contemporary music made a great effort to engage with it. Jim included the call of the cuckoo in one of his pictures.
We ended up with a home made version of Ligeti’s Poème Symphonique using some metronomes and various clocks, all ticking slightly at odds with each other.

I am very much hoping to do this again, and especially with children: there are still a lot of things we didn’t have time for – a 19th century Credo where the words are intoned on one note while a succession of chords play around it. (Seimon had suggested that this was like a single transparent colour moving against a changing landscape of other colours.) Also the contrasts in Vivaldi’s Concerto for Piccolo and basso continuo, Fratres by Arvo Pärt, and perhaps one of Schenker’s Graphic Analyses.

People really enjoyed the day, and came up with an amazing variety of individual responses.

Jim wrote:

From Bach to Birtwistle

“From fixed view, or familiar- to unexpected surprise
From sleep or habit
– to awake.
From sitting in one place
– to moving around.
Fragments – unrelated to each other
– seemingly.
Details, parts, seen on a background
–  yet not seen as a whole.”

Thanks, Elizabeth-  A brilliant day

Erika said
“I found it wonderfully liberating to try and express something in a (for me) new medium. I feel I have learnt something about spacing, colour and texture. Doing is not at all the same as observing. A cliché, but one needs reminding.”

Catherine
Such fun! Really interesting exercises. It makes you think again about art and music, and puts the fun back into it. I would love part 2!

More workshops at BrynMorris are coming.

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