ALL CHANGE
Literally over the last couple of months I have discovered a way of moving away from the representational, a though process about the landscape that made sense in my own practise as an artist. Where colour, form and mark making were the important elements to a painting rather than what the place looked like.
I discovered Peter Iden. He was contemporary landscape painter 1945- 2012
Since his untimely death in 2012 his Estate has been managed by his Mary Iden and the artist David Page. Mary very generously invited me to Chichester to see what work she has of Peter’s today. Some forty paintings at a guess. This was a vital experience.
My journey with Peter Iden continues. A date is in the diary to meet Special Collections Manager of University of Chichester. Here to examine two pieces they hold by Iden and works by Ivon Hitchens and his son John Hitchens two painters who made the Sussex landscape their own.
Below are some examples of is my new direction.... If you have a moment, Please let me know what you think.
It should be fairly easy to click on an image to make it larger.
Literally over the last couple of months I have discovered a way of moving away from the representational, a though process about the landscape that made sense in my own practise as an artist. Where colour, form and mark making were the important elements to a painting rather than what the place looked like.
I discovered Peter Iden. He was contemporary landscape painter 1945- 2012
Since his untimely death in 2012 his Estate has been managed by his Mary Iden and the artist David Page. Mary very generously invited me to Chichester to see what work she has of Peter’s today. Some forty paintings at a guess. This was a vital experience.
My journey with Peter Iden continues. A date is in the diary to meet Special Collections Manager of University of Chichester. Here to examine two pieces they hold by Iden and works by Ivon Hitchens and his son John Hitchens two painters who made the Sussex landscape their own.
Below are some examples of is my new direction.... If you have a moment, Please let me know what you think.
It should be fairly easy to click on an image to make it larger.
EVERYDAY’S A SCHOOL DAY
This time of year is one of renewed emphasis on education, schools and colleges in most countries are starting a new academic year. I have started to plan out my continued development now I am out of the full-time art education system. I have cherry-picked a program
1. PAINTING The centre piece is signing on with artist Jane Strother my tutor from the online training (22/23). Jane, is a painter and first class educationalist. We will have a one day a month face-to-face session. Across the month she sets me exercises and challenges and we review the outcomes of these plus any other activity I've done, for critique feedback and development. Link to Jane here.
2. IN PRINT I found somebody who can hopefully give me the opportunity to printmaking one day a month. Helen Cantellow who I met over the summer.
This starts on October 17th link to Helen’s work
3. THE NATIONAL GALLERY (London) of which I became a member earlier this year and runs excellent online lectures. A big discovery through these is Dr Richard Stemp. Through his lectures I can continue to top up art knowledge education. Head over to his excellent weekly blog and link to his lectures here.
4. GETTING A LIFE AGAIN. I actually went, with a new neighbour, to a session in Swindon (my local town) the evening, however the life model didn't turn up but never mind we had somebody to draw so honour was satisfied! Since then I have discovered other classes so spoilt for choose and no excuses.
1. PAINTING The centre piece is signing on with artist Jane Strother my tutor from the online training (22/23). Jane, is a painter and first class educationalist. We will have a one day a month face-to-face session. Across the month she sets me exercises and challenges and we review the outcomes of these plus any other activity I've done, for critique feedback and development. Link to Jane here.
2. IN PRINT I found somebody who can hopefully give me the opportunity to printmaking one day a month. Helen Cantellow who I met over the summer.
This starts on October 17th link to Helen’s work
3. THE NATIONAL GALLERY (London) of which I became a member earlier this year and runs excellent online lectures. A big discovery through these is Dr Richard Stemp. Through his lectures I can continue to top up art knowledge education. Head over to his excellent weekly blog and link to his lectures here.
4. GETTING A LIFE AGAIN. I actually went, with a new neighbour, to a session in Swindon (my local town) the evening, however the life model didn't turn up but never mind we had somebody to draw so honour was satisfied! Since then I have discovered other classes so spoilt for choose and no excuses.
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New Ideas and Writings |
I am using a ‘platform' called Substack....Easier for friends who might want to see my ideas and/or hit the delete if unexpectedly dull .
I am aiming to send out shorter, better illustrated posts, covering a range of topics that I hope will interest or amuse
And it is a way of reconnecting with friends to whom I have not spoken to for some time.
Sign up here I you wish. Thank you
I am aiming to send out shorter, better illustrated posts, covering a range of topics that I hope will interest or amuse
And it is a way of reconnecting with friends to whom I have not spoken to for some time.
Sign up here I you wish. Thank you
Oh lucky man!
July 2023
The Old Post Office Gallery in Cricklade has accepted four pieces of work, four oil paintings.
This represents a huge opportunity, just down the street from the house. I am delighted and grateful to have work hung again.
I am sure it represents the chance to create and show new and special work. Link to the Gallery
The Old Post Office Gallery in Cricklade has accepted four pieces of work, four oil paintings.
This represents a huge opportunity, just down the street from the house. I am delighted and grateful to have work hung again.
I am sure it represents the chance to create and show new and special work. Link to the Gallery
Showtime
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Cricklade Art Group Summer Show. Opens tomorrow Preview evening – Friday 9th June 2023 runs 10 and 11 June Cricklade Town Hall.
We had to develop short narratives to accompany our work. Mine are here Sense and Celebration From West Wales to Wiltshire, artist Tim Baynes is excited by what he sees around him. Always with sketchbook and camera he gathers material and back in his studio uses this material to create paintings examples of which we see here. Energy, colour and the push and pull of form determine the work. Painters need Painters Often we are inspired by painters who have gone before us in the very same landscape. For Tim Baynes it is John Piper (1903 - 1992). Piper was active Wiltshire and West Wales capturing the country, in paintings, drawings and photography. ‘My aims in painting are to express a personal love of country and architecture and the humanity that in habits them’ John Piper June 1950 Tim Baynes writing about art and places on http://timbaynesart.blogspot.com A Wiltshire Artist Being new to Cricklade is a special. In the town, the stones of St Sampson church, the nearby fields and farms and then up onto the Ridgeway’s high ground each provide impetus. Five minutes from the front door, stimulus to get out and draw a way of rejoicing to be here. Tim Baynes on Instagram https://www.instagram.com/timbaynes/ |
GOING BACK TO CHURCH
It might be as much as two years since I have drawn or painted the interior or exterior of a church. Now in Cricklade, Wiltshire, close by the church of St Sampson my passion has been reawakened.
St Sampson with its crossing tower watches over the town and is a landmark for miles hereabouts. This tower is described by Simon Jenkins* as ‘one of the last great extravagances of Perpendicular church architecture’
Inside, the church is most ‘deferential’ to the central vault beneath with its lierne ribs having some sixty bosses emblazoned with John Dudley’s (Duke of Northumberland) arms. He commissioned this Cotswolds flight of fancy. From the choir stalls it is a wonder on which gaze during those times when today’s church litany it as its most dull.
Wiltshire is blessed with many wonderful churches. I propose to visit all of them over the coming months and years, a perfect was to discover this county.
* England's Thousand Best Churches by Simon Jenkins © 2000
Landing in Cricklade
A delightful Wiltshire town full of equally delightful people. The place is a beguiling mix of Saxon walls, innumerable footpaths and small estates of homes. A neighbour pops round with tulips the day after we move in! Another with a bottle of wine. There are great things waiting to be discovered, within the small housing estates and the attendant buildings and gardens, footpaths past barns, farms and desultory chicken coops. Each day I take Rosie for a walk and come back loaded with ideas and with R’s permission linger longer to make a sketch. St Sampson’s Church Tower, a triumph of Late Perpendicular, can be seen for miles around.
There are more footpaths than you can shake a stick at. Lanes that are vortex-like and beside each a stream ditch or river. So much walking. Mornings are about organising services and people to fix things. The community and all the contractors seem bonza.
I had the studio set up two days after moving in and have even started to carve out time with charcoal and acrylic. There is much to celebrate in drawing and painting and ‘camera as sketchbook’. An approach adopted by the painter George Shaw.
https://www.artnet.com/artists/george-shaw-2/
There are more footpaths than you can shake a stick at. Lanes that are vortex-like and beside each a stream ditch or river. So much walking. Mornings are about organising services and people to fix things. The community and all the contractors seem bonza.
I had the studio set up two days after moving in and have even started to carve out time with charcoal and acrylic. There is much to celebrate in drawing and painting and ‘camera as sketchbook’. An approach adopted by the painter George Shaw.
https://www.artnet.com/artists/george-shaw-2/
Pentre Ifan
Pentre Ifan takes us back to Neolithic times. Our ancestors buried their dead in tombs such as this. Today these remaining stones are what is left of chamber that would originally have been covered with earth. The giant five metre ‘capstone’ appears to be precariously balanced on three other stones, it has been there for 5000 years. A sense of mystery is intensified by its backdrop, the Preseli Hills home to Pembrokeshire's ‘bluestones’ that went into the creation of Stonehenge as well as Pentre Ifan itself.
FARMS, BARNS and CRUMBLING COTTAGES
I stop by them in the car, photograph and draw them. Later paint them. Drawn to them with “the sort of compulsion that derives from their physicality rather than any associations” 1.
Their meanness and implied indigence is prominent. Many are hearteningly neglected, ugly.
These are small scale scrawled marks on the landscape. Satisfying and enduring, preserved for function or former utility.
Their composition is stone, breeze block, rusting corrugated tin.
Some have modern olive green steel roofs, a concession to trying to blend in. Windows without glass slowly shedding their paint.
Close by an obligatory shipping container is pressed into service for who knows what.
Dereliction in these parts means two of most things, at least: cars up on bricks, corrugated sheets, plastic buckets, wire, fencing posts, tyres (lots of). Close by half a car, three-quarters of a car, a shed a hutch, more posts. All subdued by grass, ivy, creepers and old man's beard.
Oil drums (colours various) and the nearby gate is secured by blue bailer twine, acting as both hinge and latch.
Colour has a vital part to play in this agricultural tableaux.
Every shade of grey you could mix,
for the stone, concrete and skies overhead.
Add Burnt Sienna for the rust,
Turquoise or electric blue in the plastic detritus that on the ground in front.
Lemon Yellow (hose pipes)
Cadmium Orange (baler twine).
Lichen: shades from dark Hookers Green to the palest blue or a watery mustard yellow.
These buildings and their grounds are visually pungent. More satisfying than the mollycoddled rural museum heritage-experience with entry fees and overgrown with signage.
1 Jonathan Meades from Pedro and Ricky Come Again Unbound Books 2021
Their meanness and implied indigence is prominent. Many are hearteningly neglected, ugly.
These are small scale scrawled marks on the landscape. Satisfying and enduring, preserved for function or former utility.
Their composition is stone, breeze block, rusting corrugated tin.
Some have modern olive green steel roofs, a concession to trying to blend in. Windows without glass slowly shedding their paint.
Close by an obligatory shipping container is pressed into service for who knows what.
Dereliction in these parts means two of most things, at least: cars up on bricks, corrugated sheets, plastic buckets, wire, fencing posts, tyres (lots of). Close by half a car, three-quarters of a car, a shed a hutch, more posts. All subdued by grass, ivy, creepers and old man's beard.
Oil drums (colours various) and the nearby gate is secured by blue bailer twine, acting as both hinge and latch.
Colour has a vital part to play in this agricultural tableaux.
Every shade of grey you could mix,
for the stone, concrete and skies overhead.
Add Burnt Sienna for the rust,
Turquoise or electric blue in the plastic detritus that on the ground in front.
Lemon Yellow (hose pipes)
Cadmium Orange (baler twine).
Lichen: shades from dark Hookers Green to the palest blue or a watery mustard yellow.
These buildings and their grounds are visually pungent. More satisfying than the mollycoddled rural museum heritage-experience with entry fees and overgrown with signage.
1 Jonathan Meades from Pedro and Ricky Come Again Unbound Books 2021
ESTUARYLAND - October 2022
I have just returned from a good walk down to and along our estuary. Every day I gaze across the water and land and marvel. Every day it is different, changed by the weather and the weather’s constant companion, light. Every drawing and painting I make of it is different
At low water the mud flats and retreating waters leave their swirling impressions.
From the base of Laugharne Castle we cannot be more than a mile from the opposite shore. In times gone by farmers would row across for an evening drink at The Three Mariners or The Fountain Inn.
Like so much around here it beguiles. The idea of land touching water is timeless continues inspire so many; Just to gaze or respond by taking a picture on one’s phone as I see people do most days.
Estuaries are, it seems amongst the most productive natural habitats. Little wander oystercatchers, curlews and other waders constantly patrol and harvest from these shifting grounds.
I have just returned from a good walk down to and along our estuary. Every day I gaze across the water and land and marvel. Every day it is different, changed by the weather and the weather’s constant companion, light. Every drawing and painting I make of it is different
At low water the mud flats and retreating waters leave their swirling impressions.
From the base of Laugharne Castle we cannot be more than a mile from the opposite shore. In times gone by farmers would row across for an evening drink at The Three Mariners or The Fountain Inn.
Like so much around here it beguiles. The idea of land touching water is timeless continues inspire so many; Just to gaze or respond by taking a picture on one’s phone as I see people do most days.
Estuaries are, it seems amongst the most productive natural habitats. Little wander oystercatchers, curlews and other waders constantly patrol and harvest from these shifting grounds.
CONSIDERATIONS ON DRAWING
Response to the question posed the other day by a tutor asking me to consider how drawing fitted into my practise as an artist.
Exploration. Drawing as an exploratory act is important in and of itself, but also as a way of figuring out what may or may not be important in a follow-up/larger piece of work. For example a painting or for print making. It is an important start point to what might come.
Celebration. Mark making, in sketchbooks or on large sheets of paper is a celebratory process, either reacting to what is in front of one or what is in one’s head at the time. It is an immediate response. A compulsion: for example seeing some people in a tube carriage and just having to hunker down to make a drawing.
Not: e Ms. Poland says I should take a break from this activity.
Recording. Since 2004 I have been lucky enough to travel extensively overseas and sketchbooks have always been a part of the adventure. Carving out 10 minutes before meeting to make a drawing. A practice that over time was seen as quite normal for me by my colleagues.
As a result there are 70 books on the bookshelf. And they serve an important tasks. This week example I was reading about all the changes in Cairo, the disappearing houseboats on the Nile and was able to refer to my drawings to remember the Cairo in which I worked.
Response to the question posed the other day by a tutor asking me to consider how drawing fitted into my practise as an artist.
Exploration. Drawing as an exploratory act is important in and of itself, but also as a way of figuring out what may or may not be important in a follow-up/larger piece of work. For example a painting or for print making. It is an important start point to what might come.
Celebration. Mark making, in sketchbooks or on large sheets of paper is a celebratory process, either reacting to what is in front of one or what is in one’s head at the time. It is an immediate response. A compulsion: for example seeing some people in a tube carriage and just having to hunker down to make a drawing.
Not: e Ms. Poland says I should take a break from this activity.
Recording. Since 2004 I have been lucky enough to travel extensively overseas and sketchbooks have always been a part of the adventure. Carving out 10 minutes before meeting to make a drawing. A practice that over time was seen as quite normal for me by my colleagues.
As a result there are 70 books on the bookshelf. And they serve an important tasks. This week example I was reading about all the changes in Cairo, the disappearing houseboats on the Nile and was able to refer to my drawings to remember the Cairo in which I worked.
CAIRO’S FABRIC UNRAVELS.
With many peoples’ Summer sadly blighted by travel chaos it’s good to look back on places we have enjoyed in less stressful times.
Don't it always seem to go
That you don't know what you've got 'til it's gone?
They paved paradise, put up a parking lot.
Album: Ladies of the Canyon (1970)
Joni Mitchell
I recalled these lines the other day when reading an article in The Week magazine the Week magazine which included précis of a piece from The National (Abu Dhabi)
Cairo Nile houseboat residents clamber to save homes from demolition order.
By Kamal Tabikha Cairo Jun 30, 2022, FULL ARTICLE LINK. https://www.thenationalnews.com/mena/egypt/2022/06/30/cairo-nile-houseboat-residents-clamber-to-save-homes-from-demolition-order/
Tabikha’s article tells of the gross development along the banks of the Nile in Cairo. It took me back to times I was lucky enough to work in Cairo on several occasions but at the BBC and Microsoft.
The article to which I referred talks of the magnificent Nile houseboats (19th century) being towed away and destroyed to make way for waterfront development. Earlier on the Egyptian government had also stopped boats plying their trade offering the means to cross the river. I thank God that I was in Cairo to witness the magic of the Nile, free of all this development. I made several of drawings at the time and a successful monoprint in 2011. Doubtless with all this change today’s visitor will not miss much.
Don't it always seem to go
That you don't know what you've got 'til it's gone?
They paved paradise, put up a parking lot.
Album: Ladies of the Canyon (1970)
Joni Mitchell
I recalled these lines the other day when reading an article in The Week magazine the Week magazine which included précis of a piece from The National (Abu Dhabi)
Cairo Nile houseboat residents clamber to save homes from demolition order.
By Kamal Tabikha Cairo Jun 30, 2022, FULL ARTICLE LINK. https://www.thenationalnews.com/mena/egypt/2022/06/30/cairo-nile-houseboat-residents-clamber-to-save-homes-from-demolition-order/
Tabikha’s article tells of the gross development along the banks of the Nile in Cairo. It took me back to times I was lucky enough to work in Cairo on several occasions but at the BBC and Microsoft.
The article to which I referred talks of the magnificent Nile houseboats (19th century) being towed away and destroyed to make way for waterfront development. Earlier on the Egyptian government had also stopped boats plying their trade offering the means to cross the river. I thank God that I was in Cairo to witness the magic of the Nile, free of all this development. I made several of drawings at the time and a successful monoprint in 2011. Doubtless with all this change today’s visitor will not miss much.
Return to the Edgelands Project Statement from Carmarthen School of Art Project
‘Britain’s towns and cities do not usually sit cheek by jowl with its countryside, as we often casually assume. Between urban and rural stands a kind of landscape quite different from either. Often vast in area, though hardly noticed*’
Marion Shoard discussing the unique nature of the undervalued and overlooked fringe between city and country. The Land Issue 21 – 2017 Page 1
CONTINUAL FASCINATION
These often unloved places have an allure for Baynes. he has been exploring them since 2016. His investigations have taken him through Essex, Kent and Buckinghamshire and also further afield along the banks of the river Elbe in Germany, across Romania and in Atlanta Georgia.
Initially Baynes used gouache and ink in an illustrative style to capture these Edgelands. However, since moving to Laugharne in April 2021 and starting his BA in Fine Art at Carmarthen School of Art’s Fine his style has evolved.
NEW DISCOVERIES
The encounters with new Edgelands around Carmarthenshire as well as learning about new painting styles, techniques and materials has reignited Baynes’ passion and he now has a much more expressive style using a range of materials, acrylic and oil.
Baynes starts with a walk and a camera, in a similar way to one of his inspirations George Shaw. He then from translates these to working drawings and then to oil paint.
His biggest inspirations are Jock McFadyen, George Shaw, Clare Booker, Paul Winstanley and David Rayson. These painters have all captured the overlooked places and encourage Tim to do the same.
Marion Shoard discussing the unique nature of the undervalued and overlooked fringe between city and country. The Land Issue 21 – 2017 Page 1
CONTINUAL FASCINATION
These often unloved places have an allure for Baynes. he has been exploring them since 2016. His investigations have taken him through Essex, Kent and Buckinghamshire and also further afield along the banks of the river Elbe in Germany, across Romania and in Atlanta Georgia.
Initially Baynes used gouache and ink in an illustrative style to capture these Edgelands. However, since moving to Laugharne in April 2021 and starting his BA in Fine Art at Carmarthen School of Art’s Fine his style has evolved.
NEW DISCOVERIES
The encounters with new Edgelands around Carmarthenshire as well as learning about new painting styles, techniques and materials has reignited Baynes’ passion and he now has a much more expressive style using a range of materials, acrylic and oil.
Baynes starts with a walk and a camera, in a similar way to one of his inspirations George Shaw. He then from translates these to working drawings and then to oil paint.
His biggest inspirations are Jock McFadyen, George Shaw, Clare Booker, Paul Winstanley and David Rayson. These painters have all captured the overlooked places and encourage Tim to do the same.
SPRING NEWSROUND
Well its nearly the end of term, next week is week nine. We break for Easter. April 8 and spend the time hauling out the work for assessments April 25 – 26. High spots this term have been the sessions and tutorials on oil-based processes (oil painting in common parlance) and print making.
With tutor Rhodri Rees >> Instagram https://www.instagram.com/rhodri.rees.25/?hl=en
We have been covering some really strong foundations of solid oil painting work. I have been oil painting for a number of years however I learn and huge amount under his guidance and encouragement. And think of what we have covered as I finalise my work for this semester. You can spot a good tutor, clear direction, no nonsense and a light touch.
Second stand out sessions are in print making with Pete Williams
>> Instagram https://www.instagram.com/printpete/?hl=en
A wide-ranging program across the weeks, monoprint, etching, screen printing as wood cut.
The latter two completely new areas for me. Again first-class teaching and someone else from whom you can learn so much. Pete has his own studio in Cardiff and has been involved in programs and projects in the US and Far East.
We are so lucky to have access to this level of talent and generosity.
A few pieces from the term.
With tutor Rhodri Rees >> Instagram https://www.instagram.com/rhodri.rees.25/?hl=en
We have been covering some really strong foundations of solid oil painting work. I have been oil painting for a number of years however I learn and huge amount under his guidance and encouragement. And think of what we have covered as I finalise my work for this semester. You can spot a good tutor, clear direction, no nonsense and a light touch.
Second stand out sessions are in print making with Pete Williams
>> Instagram https://www.instagram.com/printpete/?hl=en
A wide-ranging program across the weeks, monoprint, etching, screen printing as wood cut.
The latter two completely new areas for me. Again first-class teaching and someone else from whom you can learn so much. Pete has his own studio in Cardiff and has been involved in programs and projects in the US and Far East.
We are so lucky to have access to this level of talent and generosity.
A few pieces from the term.
Light blue touch paper and retire
Wow, Happy New Year! And last chance to catch up.It has been a crazy couple of months.
On the 10th of October I was invited to go 'upstairs to join the BA fine art course here at Carmarthen School of art. Quite a leap. But it has been an exhilarating couple of months and I really am excited about all that studying at this level entails. Along the way some tears, lots of frustration. Yet also the chance to work with some great people, share ideas and discover ways to paint and discover new names in terms of painters and artists, people that I would've never have discovered otherwise.
Today, January 6, is a special day. This morning I handed all my working including project notebook sketchbooks and of course coursework since I joined the program. Most of Christmas was actually spent getting ready for this big handing day especially as, I joined the program late so therefore had some catching up to do! Anyway it's good. It's done. Now we sit back and wait for our assessment and feedback.
Here is a short show of what I have been up too...
On the 10th of October I was invited to go 'upstairs to join the BA fine art course here at Carmarthen School of art. Quite a leap. But it has been an exhilarating couple of months and I really am excited about all that studying at this level entails. Along the way some tears, lots of frustration. Yet also the chance to work with some great people, share ideas and discover ways to paint and discover new names in terms of painters and artists, people that I would've never have discovered otherwise.
Today, January 6, is a special day. This morning I handed all my working including project notebook sketchbooks and of course coursework since I joined the program. Most of Christmas was actually spent getting ready for this big handing day especially as, I joined the program late so therefore had some catching up to do! Anyway it's good. It's done. Now we sit back and wait for our assessment and feedback.
Here is a short show of what I have been up too...
Back to School
Oh! I am here. Beginning to finish what I started in 1974.
I am on the Art Access Course at Carmarthen School of Art.
“The Access to Higher Education qualification is a course tailored for adults who wish to return to education. Maybe it is time for a career change or maybe you did not have the chance to go to university due to family commitments.” (‘adults’ their italics)
Access, rather like a Foundation Course, the equivalent of doing three ‘A’ Levels in one year. Says the man who left school with six all of GCEs all at grade six. The program runs for one year, three terms, three days a week. Weekly reports on the experience appear on my blog .
I am on the Art Access Course at Carmarthen School of Art.
“The Access to Higher Education qualification is a course tailored for adults who wish to return to education. Maybe it is time for a career change or maybe you did not have the chance to go to university due to family commitments.” (‘adults’ their italics)
Access, rather like a Foundation Course, the equivalent of doing three ‘A’ Levels in one year. Says the man who left school with six all of GCEs all at grade six. The program runs for one year, three terms, three days a week. Weekly reports on the experience appear on my blog .
The land of impossible greens.
June 2021
Our town where we now live, Laugharne, squats at the end of an estuary. Here the Afon Taf flows into Carmarthen Bay and eventually the Bristol Channel. On the other side of this estuary are deserted churches, small farm fields and narrow roads draped in flowers.
Cow Parsley, Red campion, butter cups, blue bells and hawthorn compete for room to flourish. Hedges are high. In the shade hearts tongue ferns glow in a green haze.
Roads are like some helter-skelter rising up to the sun and plunging down to shady bridges and crumbling cottages. Up, up again, to a field of views across a hundred fields. A line of pylons march across this land. We enjoy so much green, from darkest viridian to almost lemon. We pass gates are held together by rust and blue bailer twine. Red rust and turquoise blue the compliment to green on the colour wheel.
Our town where we now live, Laugharne, squats at the end of an estuary. Here the Afon Taf flows into Carmarthen Bay and eventually the Bristol Channel. On the other side of this estuary are deserted churches, small farm fields and narrow roads draped in flowers.
Cow Parsley, Red campion, butter cups, blue bells and hawthorn compete for room to flourish. Hedges are high. In the shade hearts tongue ferns glow in a green haze.
Roads are like some helter-skelter rising up to the sun and plunging down to shady bridges and crumbling cottages. Up, up again, to a field of views across a hundred fields. A line of pylons march across this land. We enjoy so much green, from darkest viridian to almost lemon. We pass gates are held together by rust and blue bailer twine. Red rust and turquoise blue the compliment to green on the colour wheel.
A Whole New World
LANDING IN LAUGHARNE May 2021
We have moved to Laugharne.
It is a town on the south coast of Carmarthenshire, Wales, lying on the estuary of the River Tâf. Population 1,222
It is rather like standing on the edge of a new life, when somebody is saying to you “Hey, would you like a new life?"
And you say 'Yes please, that would be nice, thank you’
I think I really know the difference between living in a place and loving a place. There is so much ahead of us, probably most of it will be strange. Yet there is so much to see, enjoy and stub one’s toe on. Every nook and cranny seems to have a story. Nobody ‘does’ topographical desolation, and piles of enthralling rubbish better than the Welsh.
I am making a drawing or two most days in Laugharne. I make notes each day about what we do all day here.
Here is our new home.
We have moved to Laugharne.
It is a town on the south coast of Carmarthenshire, Wales, lying on the estuary of the River Tâf. Population 1,222
It is rather like standing on the edge of a new life, when somebody is saying to you “Hey, would you like a new life?"
And you say 'Yes please, that would be nice, thank you’
I think I really know the difference between living in a place and loving a place. There is so much ahead of us, probably most of it will be strange. Yet there is so much to see, enjoy and stub one’s toe on. Every nook and cranny seems to have a story. Nobody ‘does’ topographical desolation, and piles of enthralling rubbish better than the Welsh.
I am making a drawing or two most days in Laugharne. I make notes each day about what we do all day here.
Here is our new home.
A BIG crush on Carmarthenshire
March 2021 Carmarthenshire is a grand county of often vertical green fields, meandering rivers, including the AfonTowy the longest flowing entirely within Wales big beaches and caravan parks and not forgetting chapels that demand you to draw them. In a desperate attempt to ingratiate myself with Carmarthen School of Art and speed my application to study at Coleg Sir Gâr I dedicate this album.
Pining for Pembrokeshire
A good friend of mine, Mark, mentioned that he and his wife Karen are going to explore Pembrokeshire; once lockdown is behind us. Amen to that! What a wonderful idea I thought then looked at the map on my pin board annotated with all the places Sian and I visited in 2019 and this, before March 20th last year.
So here is a collection of the work that came about from those journeys, and the map on my pin board. Included are drawings made on the spot, when there, paintings made later in the studio, and printmaking done in the studio of Peter Spens. Captions will be added soon!
So here is a collection of the work that came about from those journeys, and the map on my pin board. Included are drawings made on the spot, when there, paintings made later in the studio, and printmaking done in the studio of Peter Spens. Captions will be added soon!
Urban Renewal
This year has been the year of the micro jaunt. A time when a short trip takes on the significance of a two week holiday!
The purchase of an electric bike helped. Since August I have triangulated between Slough, Uxbridge and High Wycombe and one or two other places. The result is that I have really begun to appreciate and draw the everyday.
The purchase of an electric bike helped. Since August I have triangulated between Slough, Uxbridge and High Wycombe and one or two other places. The result is that I have really begun to appreciate and draw the everyday.
Discovering the Modern Church
Having spent the last twenty years exploring churches built between 900 and 1900, I decided to give those built after 1945 a go. And I kept the ‘survey’ local, the High Wycombe area. What I discovered, sketched and subsequently painted was a confection of all shapes and sizes, in range of materials.
'Churches started to come in all shapes. There were bunkers and ships. There were churches that looked like silos… churches with swervy roofs and hyperbolic paraboloid roofs. The faithful must have had to work hard to convince themselves they were attending church at all.'
Museum without Walls by Jonathan Meades Published 2013 by Unbound Books
'Churches started to come in all shapes. There were bunkers and ships. There were churches that looked like silos… churches with swervy roofs and hyperbolic paraboloid roofs. The faithful must have had to work hard to convince themselves they were attending church at all.'
Museum without Walls by Jonathan Meades Published 2013 by Unbound Books
Exploring Architecture
For many it is still too soon to travel far. However it has been a high old time for some virtual visits. Architecture is a constant theme for my meanderings of late in gouache acrylic, inks and line work.
Kent Coast in June
No. I have not be 'doing a Cummings' and sneaking down to Kent.. Photographer Trevor Clapp and I since 2015 have amassed 2000 photos, 5000 words and 70 drawings on our coastal jaunts. Most of which are up on www.curiouscoast.co.uk With time to reflect in these times and knowing that one day we will be able to enjoy Kent and Essex without restrictions I have been revisiting the Kent photographs Trevor took as the basis for this work...
Darling Buds of May
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May 12 2020
Well it has been an interesting couple of months! Distressing and confusing, yet amongst it all the opportunity to enjoy some wonderful weather. And with so many worthy distractions removed, get down to meaningful work, for example The Lockdown Gallery here, a few tabs across. Also it is a good catch up on correspondence with friends. PJ Lehrer, my dear friend in New York city continues to post inspiring photographs on Instagram. I continue to beg copies from here to 'translate' into illustrative pieces. It is much fun and a wonderful collaboration. And now looking back its interesting to see how much has been created since we started at the beginning of 2019. Find PJ here |
2020 - New year New romance
More to be said as the year progresses. Enough to say that I have fallen hopelessly in love with West Wales (sorry to shout!). I seem to spend all of my artistic waking moments thinking about painting this wonderful part of the world, the counties of Carmarthenshire and Pembrokeshire.
A Peruvian Adventure
It is important to reflect on any journey. What did we see and do across two remarkable weeks in September this year?
We saw the pyramids of a civilisation that pre dates the Pharaohs and Inca temples and towns and their terraces lying in the sun
Most days we were in sight of mountains crowned with clouds and snow.
We had the chance to explore cities and their gorgeous churches, each House of God dripping with gold and silver. And during these discoveries come to sense a people for whom Christianity and spirituality were very much part of their everyday.
We salivated over ancient textiles and pottery fashioned two thousand years
Recoiled from the tourist hoards including young girls perched atop of ruins, their arms spread wide and chests thrust forward for ‘the photo’.
We relished wonderful cuisine and stayed in some wonderful hotels
Travelled through jungles, plains and peaks and spied small villages by fast flowing rivers.
Ridden on trains where smartly dressed attendants suddenly don colourful costumes and danced along our train’s carriage. Then they give a fashion show
And sailed across a lake and met people we will never forget.
Each was an exquisite and unrepeatable experience.
We saw the pyramids of a civilisation that pre dates the Pharaohs and Inca temples and towns and their terraces lying in the sun
Most days we were in sight of mountains crowned with clouds and snow.
We had the chance to explore cities and their gorgeous churches, each House of God dripping with gold and silver. And during these discoveries come to sense a people for whom Christianity and spirituality were very much part of their everyday.
We salivated over ancient textiles and pottery fashioned two thousand years
Recoiled from the tourist hoards including young girls perched atop of ruins, their arms spread wide and chests thrust forward for ‘the photo’.
We relished wonderful cuisine and stayed in some wonderful hotels
Travelled through jungles, plains and peaks and spied small villages by fast flowing rivers.
Ridden on trains where smartly dressed attendants suddenly don colourful costumes and danced along our train’s carriage. Then they give a fashion show
And sailed across a lake and met people we will never forget.
Each was an exquisite and unrepeatable experience.
Inktober 2019
Inktober is an ink drawing event that occurs every October. People are encouraged to create and post an ink drawing every day, or at whatever pace works best for them. The rules are loose and flexible, which allows for all types of artists and creators to join in on the fun.
Although I think I draw a lot and tell some people I draw everyday well, not always so the challenge of Inktober - a drawing each day is a tough one however it is also a lot of fun to be part of a worldwide community that over 31 days creates millions of drawings between us. Here are mine :)
Although I think I draw a lot and tell some people I draw everyday well, not always so the challenge of Inktober - a drawing each day is a tough one however it is also a lot of fun to be part of a worldwide community that over 31 days creates millions of drawings between us. Here are mine :)
An Album for Autumn
October: We are just back from a big trip to South America (more on that soon) and feel plunged into Autumn, winds and rain as I write this. So I have gathered together some recent work Autumnal, the usual leitmotifs emerge, the sea, sand, land, a little London and fruits of the earth.
That summertime feeling
Let us leave the shapes and sounds of summer up a little bit longer!
Five days cycling by the River Mosel
Revisting the The Somme
At the end of March: A week in the Somme, that area in northern France where from 1914 - 1918, during the Great War, there was so much conflict.
On this second visit one had a clearer sense of the scale of the conflict, how so much was given and so little gained.
On this second visit one had a clearer sense of the scale of the conflict, how so much was given and so little gained.
Coming back to Life
THE WINTER WORKS ALBUM January 2019
T H E T R A V E L S H O W
JANUARY 2019
It is that time of year, the TV, newspapers and online is full of travel, places to go and people to see. And it prompts this small collection of my favourite cities, places to which I have travelled, enjoyed and felt privileged to have been..
A R O M A N I A N R O M A N C E
OCTOBER 2018 We made a journey across the rich landscapes of the Carpathian Mountains and the historic province of Transylvania. We heard the stories of its legends and tales of the 15th-century ruler of Wallachia, Vlad the Impaler. We entered the celebrated, exquisite painted churches in Moldavia.
There was tranquillity in the Convents and unique painted churches of Bucovina, with their colour ladened exterior frescoes protected by soaring shingle roofs. Remarkable work painted in the 16th and 17th centuries yet they retained their freshness and colour.
Brasov entertained us for two days a 12th-century town renowned for its Gothic-style Black Church.
In Sinaia, the ‘Pearl of the Carpathians’, we saw Peles Castle the summer residence of the first king of Romania, Carol I.
And just up the road, Bran, whose medieval castle, also known as Dracula’s Castle, to protect the old border between Wallachia and Transylvania.
And, of course, Bucharest, the capital, sometimes known as ‘Little Paris’, has wide boulevards and French architecture, whilst the Palace of the Parliament is the second largest building in the world after the Pentagon.
LOVE ROMANIA - 49 DRAWINGS IN THE SLIDE SHOW BELOW
OCTOBER 2018 We made a journey across the rich landscapes of the Carpathian Mountains and the historic province of Transylvania. We heard the stories of its legends and tales of the 15th-century ruler of Wallachia, Vlad the Impaler. We entered the celebrated, exquisite painted churches in Moldavia.
There was tranquillity in the Convents and unique painted churches of Bucovina, with their colour ladened exterior frescoes protected by soaring shingle roofs. Remarkable work painted in the 16th and 17th centuries yet they retained their freshness and colour.
Brasov entertained us for two days a 12th-century town renowned for its Gothic-style Black Church.
In Sinaia, the ‘Pearl of the Carpathians’, we saw Peles Castle the summer residence of the first king of Romania, Carol I.
And just up the road, Bran, whose medieval castle, also known as Dracula’s Castle, to protect the old border between Wallachia and Transylvania.
And, of course, Bucharest, the capital, sometimes known as ‘Little Paris’, has wide boulevards and French architecture, whilst the Palace of the Parliament is the second largest building in the world after the Pentagon.
LOVE ROMANIA - 49 DRAWINGS IN THE SLIDE SHOW BELOW
Whittenham Clumps
SEPTEMBER 2018 WHITTENHAM CLUMPS: WALKING WITH CHRISTOPHER AND ANNA
If you want to really understand something place yourself in the care of a passionate expert. Christopher Baines is just such a person. He unlocks the magic of Whittenham Clumps and artist Paul Nash’s constant fascination with this special landscape. We joined Christopher Baines on a special walk around the Wittenham Clumps, stopping to examine particular points of view where Nash took the landscape and made it his own. Before we set of Christopher gave a illustrated talk, full of insight and anecdote; ideas that made the walk so very special.
BIG THANKS to Christopher Baines and his collaborator and co-guide artist Anna Dillon www.annadillon.com/Their Nash-Clumps website https://www.nashclumps.orgis a constant visual delight
ART IN ACTION
Click on 'Action' to enjoy the short film
Another collaboration with Bespoke Framing
A tour of my studio
Summer 2018
I was so pleased to welcome Alison and Tom into my ‘studio’ the other day.
The result was a lovely two-minute film from Alison
She commented
'Tim Baynes opens his studio in Beaconsfield to us – what a treat! My son has just taken art as a GCSE option in school and we thought a visit to an artists’ studio would be a perfect inspiration'
Play the film from this link bit.ly/2timsstudio
The full story from Aly is on the Bespoke Framing website
SEPTEMBER 2018 WHITTENHAM CLUMPS: WALKING WITH CHRISTOPHER AND ANNA
If you want to really understand something place yourself in the care of a passionate expert. Christopher Baines is just such a person. He unlocks the magic of Whittenham Clumps and artist Paul Nash’s constant fascination with this special landscape. We joined Christopher Baines on a special walk around the Wittenham Clumps, stopping to examine particular points of view where Nash took the landscape and made it his own. Before we set of Christopher gave a illustrated talk, full of insight and anecdote; ideas that made the walk so very special.
BIG THANKS to Christopher Baines and his collaborator and co-guide artist Anna Dillon www.annadillon.com/Their Nash-Clumps website https://www.nashclumps.orgis a constant visual delight
ART IN ACTION
Click on 'Action' to enjoy the short film
Another collaboration with Bespoke Framing
A tour of my studio
Summer 2018
I was so pleased to welcome Alison and Tom into my ‘studio’ the other day.
The result was a lovely two-minute film from Alison
She commented
'Tim Baynes opens his studio in Beaconsfield to us – what a treat! My son has just taken art as a GCSE option in school and we thought a visit to an artists’ studio would be a perfect inspiration'
Play the film from this link bit.ly/2timsstudio
The full story from Aly is on the Bespoke Framing website
WHITTENHAM CLUMPS
March 2018
Some places truly strike a cord.
These are places that preoccupy you for many days after your visit.
The place you really cannot wait to get back to. Whittenham Clumps is one of my places.
I walked past it in July 2103 with two friends as we walked the Thames Path. I immediately created a linocut from the drawing I made at that time. It has been at the back of my mind since as a magic place, there, but not quite.
Remarkable views are here, you look across Oxfordshire to the north, Chilterns to the East, South and West across the Berkshire Downs and Wiltshire.
The artist Paul Nash, who first saw them in 1911, described the view from The Clumps: "a beautiful legendary country haunted by old gods long forgotten” Paul Nash repeatedly painted Wittenham Clumps. I hope to follow in his wake, in a more industrious fashion than I have hitherto.
Painting the library
November 2017 and in February 2018 were the first times I had engaged publicly about my painting.
(Aside from muttered openings in my 2010 and 2011 shows).
I finished the actual 'talk' in forty minutes and then we got into an exercise: I'd bought some gear and paper and a jar of Rudbeckia stems and we all got to work.
It was a really exciting session! A big thanks to Beaconsfield Library for suggesting the idea and helping to make it fly!
Three big learnings
1. People are more interested in how one does something more than why or what
2. People love getting stuck into something
3. Taking along some equipment so people could have a go with untried materials was a bonus - for they love experimenting with something new
March 2018
Some places truly strike a cord.
These are places that preoccupy you for many days after your visit.
The place you really cannot wait to get back to. Whittenham Clumps is one of my places.
I walked past it in July 2103 with two friends as we walked the Thames Path. I immediately created a linocut from the drawing I made at that time. It has been at the back of my mind since as a magic place, there, but not quite.
Remarkable views are here, you look across Oxfordshire to the north, Chilterns to the East, South and West across the Berkshire Downs and Wiltshire.
The artist Paul Nash, who first saw them in 1911, described the view from The Clumps: "a beautiful legendary country haunted by old gods long forgotten” Paul Nash repeatedly painted Wittenham Clumps. I hope to follow in his wake, in a more industrious fashion than I have hitherto.
Painting the library
November 2017 and in February 2018 were the first times I had engaged publicly about my painting.
(Aside from muttered openings in my 2010 and 2011 shows).
I finished the actual 'talk' in forty minutes and then we got into an exercise: I'd bought some gear and paper and a jar of Rudbeckia stems and we all got to work.
It was a really exciting session! A big thanks to Beaconsfield Library for suggesting the idea and helping to make it fly!
Three big learnings
1. People are more interested in how one does something more than why or what
2. People love getting stuck into something
3. Taking along some equipment so people could have a go with untried materials was a bonus - for they love experimenting with something new