Rosie McClelland Art

Posts Tagged ‘portraiture’

Faultlines and Fractures

In Artist Bio, Exhibitions, Uncategorized on October 17, 2016 at 6:12 pm

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Through the media of paint, glass and photography Rosie McClelland and Pamela Greene each explore the complex issue of identity. Recognising that identity has may facets and is subject to reinvention, their work explores the relationships we form with certain people, landscapes or objects and why these draw us close on emotional, spiritual or physical levels that we do not always understand. Drawn to the imperfections in the human condition and in nature, McClelland’s and Greene’s work recognises that it is in connecting with these fault lines that we find our DNA

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‘Little Blue’ oil on linen 50 x 40cm Rosie McClelland

The condition of self is transitory, never fixed. Our position within society, family and workplace can change radically throughout our lives. It is with this in mind that I approach my work which is first and foremost intimate and reflective, a personal response to my subject matter.

My chosen method of working is figurative, weaving underlying abstract forms into reality and, in the process, hopefully creating a sense of presence – a vibration. The study of the human body, an ongoing fascination throughout my life, returns time and again as does the art of still life which is about much more than the objects it portrays and more often than not represents human relationships. Another repeating motif is the tethered boat, so long a symbol of the spiritual, at times swaying on choppy seas, times on still waters portraying a reflection of the self.

Woven into this process is the acceptance of faults, fractures and imperfections as it is only through a holistic view of reality that the truth and the real self are revealed.                   Rosie McClelland

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Iceland Series ‘Frozen Sea’ dia 30cm depth 18cm Pamela Greene

Through the media of kiln-formed glass, photography and poetry I explore my primary interest, identity.   I am particularly drawn to the identity of landscape and why many of us make emotional or spiritual or physical connection with wild and inhospitable places whose beauty is often savage and transient.

My current work focuses on the landscapes of Iceland and Ireland, sustained sources of inspiration.   For my ‘Iceland’ series I chose to work with glass for its versatility: its ability – like ice – to transmit and reflect light, its reaction to fire, and, like the landscape of Iceland, its strength and vulnerability.  These properties make it the perfect medium to try to reflect the spirit of a landscape whose identity is shaped by ice and fire.

My glasswork is supported by photographs of Donegal, a landscape similar to that of Iceland.  In these I have sought to capture the essence of a fractured and fragmented landscape where it sometimes seems that the identity and history of our ancestors can be read in the faces and fault lines of the rock formations.

Working with glass and photography has enabled me to explore how landscape, actual and remembered, shapes our sense of who we are and where we come from.                            Pamela Greene

 

 

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Charcoal on watercolour paper Rosie McClelland

 On Saturday 12 Nov 2016 10am – 4pm, I shall be tutoring a life drawing workshop in the Island Arts Centre, Lisburn. Please contact the Island for details

 


 

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May Life Drawing

In lifedrawing, Workshops on May 30, 2016 at 11:31 am

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Conté crayon and collage on A2 cartridge paper 20  mins

I loved this pose would be a good study for a San Sebastian painting!

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Oil pastels and collage on A2 cartridge paper 30 mins

No quick gestural poses this session 2 x 15 min poses charcoal on cartridge paper

Head studies. Oil on canvas sheets

Charity Exhibition – Artist Bios – Pamela Greene; Edward Cartin

In Exhibitions on May 21, 2015 at 10:02 pm

Pamela Greene

Pamela bowl

 

I’ve always loved art but didn’t practice until late in life (better late than never) and really took the plunge when I signed up for a part-time HND in Fine Arts which I passed with distinctions in 2012.   Doing the HND encouraged me to be experimental and to explore a range of different techniques and media including print-making, photography, film, and sculpture.  Complementary to the course I did a master class with international glass artist, Karl Harron, and since then he has guided me through a range of different projects which have enabled me to explore my interest in the identity of landscape.  A glass bowl, Ice, was exhibited at the 2013 exhibition of the RUA and in 2014, another bowl, Lava, was shortlisted.  Since completing the HND I’ve been going to classes with Rosie McClelland to improve my drawing and painting skills.  Thanks to Rosie’s infinite patience and teaching skills, there’s a definite improvement but I’ve still a long way to go!

 

Edward Cartin

Edward Cartin

Edward has been a regular member of the classes for some years. He has a strong interest in portraiture which he uses as resource material for his paintings.

His love for Seamus Heaney’s poems has led him to visualise these in his most recent series of paintings which he exhibited in December 2014 in a very successful one-man exhibition in the  Arts Care Gallery, Crescent Gardens, Belfast. These paintings are also due to be shown in the Linenhall Library in August 2015.

Photo: Edward working on “Away at Mass”

 

Spooky!

In Demonstration, Painting Techniques, Paintings on October 7, 2014 at 11:43 am

As a follow up to Saturday’s portrait workshop, I decided to start a new painting. So last night I covered an old portrait that wasn’t working with burnt umber and this morning started taking away the paint with a brush and later a cloth dipped in thinners.

The result is a rather spooky image!

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It won’t stay like this for long I need to let this dry and start working into it. Perhaps I’ll post further stages in the development (and perhaps not….)

Portrait workshop with Simon

In drawing, Workshops on October 4, 2014 at 6:51 pm

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2 minute warm-up sketches in charcoal on cartridge paper

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Charcoal finger-drawing

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Charcoal and white chalk on toned paper

I was tutoring this portrait session but was able to do a bit of sketching in between -stops me peering over people’s shoulders too much and making them nervous!

Valerie

In Paintings on July 11, 2014 at 8:04 pm

Valerie oil on canvas 122 x 76cm 2

“Valerie” Oil on Canvas 122cm x 76cm

Chef

In Paintings on May 20, 2013 at 6:32 pm

Chef oil on canvas 100 x 70cma

Chef oil on canvas 100 x 70cm

Completed Saturday May 18

Food for Art

In drawing, Uncategorized on April 12, 2013 at 8:18 am

Ooh look what Skye, my portrait model for last night’s portrait class, brought! I feel a portrait AND a still life coming on!

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10 min charcoal sketch on cartridge paper

Memories of Mary in all her Finery

In Paintings on March 15, 2013 at 5:21 pm

In December 2011 I had three small super 8 films transferred to DVD. I wasn’t sure what I was going to find on them but I did know they were taken by my parents in the 60s. Actually I had hoped I would find a reel with my sister’s wedding filmed in 1969 as I had a funny (guilty!) feeling that it was  rather foolishly put in my care. What did emerge, however, was, firstly, a trip my folks made to Canada to visit an aunt who had emigrated to Winnipeg many years before from dad’s “aul country” of Armagh Brague. The next contained some odd bits and pieces obviously filmed to record every day life in the McClelland household the quality of which had so badly degraded it was frustrating and almost painful to watch through the snowstorm and weird colours which had replaced the old familiar faces of yore. The third was filmed at my sister’s graduation in 1964 outside Queen’s Whitla Hall in Belfast.

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There she was – my sister – a young, newly qualified teacher, fashionable in her navy chiffon shift dress with her hair piled high in a black bouffant – stunning (as she still is) walking towards the camera and beside her Mary, my mum, dressed to the nines in the outfit she had worn to my brother’s wedding the year before! She was always stylish.

Inspired by the Gerhard Richter exhibition I had visited in Tate Modern shortly before I had had the films transferred, I decided to paint my mother  from the archive and this is the result:       (with apologies to Gerhard Richter!)

Mary in her Finery

 “Mary in her Finery” oil on canvas

Portrait study in soft pastels

In Workshops on March 6, 2013 at 6:35 pm

 This study was started a couple of days ago in a pastel demonstration at a local art club, The Monday Painters, where someone was taking photos as I worked. (Of course if I’d known this I would have glammed myself up a bit!)

The subject is a young nephew who came to sit for me last week. I loved the pose which reminded me of a Modigliani subject.

Originally I was only going to paint the head and shoulders but there’s a certain tension and embarrassment in the way he folded his arms and tucked away his hands for the sitting that I felt needed to be incorporated into the painting

It seemed the perfect opportunity to combine the pastel demonstration with a study for the oil painting which I have now started.

The support is mount-card which I prepared with gesso and marble dust and applied with a DIY brush in order to leave brush-strokes

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Thanks to Les Sharpe from Monday Painters for the photos

Cherry Blossom at Merville Garden Village

In Uncategorized on April 29, 2012 at 12:12 pm

Cherry Blossom (Pollock style) – acrylic drip painting

One of the societies I belong to, The Arts Society of Ulster, recently held it’s annual open exhibition at Merville House. This has become a regular venue for the ASU, however, normally, this exhibition takes place at the end of the summer. It was such a lovely surprise when I rolled up for the opening night (ahem… to receive my Bigger and Strachan Award for portraiture – thought I might just get that in!) to find Merville Garden Village in full cherry blossom bloom. Now it’s not that I didn’t know this place existed – my aunt Helen, my mother’s sister, who used to live with us until I was born, moved into a flat in Merville Garden Village and lived there for 37 years until her death in 1987. We visited her home regularly but cherry blossom time was a must for an extra special visit. We would set off on a Sunday, straight after church, for roast chicken dinner with all the trimmings (lunch was what posh people did!) and we’d stay for tea of home-made victoria sponge, shortbread (best I’ve ever tasted), date bars, fudge, pots of tea and lemonade for us kids. In between these two feasts we would take a dander (stroll) through the estate and down to the glen which lay behind her block of flats. There we were met with the most wonderful aroma and sight of wild garlic – masses of little, white, star-shaped flowers interspersed with bluebells.

I left home in 1969 and during the 70’s and 80’s the said glen became gradually less and less visited by my aunt on account of the sad recent history of our part of Ireland and the fear (rational or not) of what might be found there. So, of course, once my memory had been prompted, I had to take a nostalgic stroll through Merville Garden Village and down to the glen fearing the worst – that the glen might not even exist any more, but to my delight, the wild garlic and the bluebells were as profuse as ever and the cherry blossom lit up the sky. Now it’s a long, long time since I attended any church but if aunt Helen is looking down (she would definitely be in heaven!) I think her heart would soar as mine did yesterday at the sight of Merville Garden Village at Cherry Blossom Time.

 Outside auntie’s flat in the mid-60s with young cherry trees

and now…..

Mum and auntie (right) outside her block of flats

and now…….

Another interesting fact is that Sir Stanley Spencer, English painter, painted Merville Garden Village in 1951.

Merville Garden Village  lies north of Belfast in Newtownabbey off the Belfast Lough Shore Road. If you want to see the cherry blossom you’ll need to hurry – the wind is picking up and it won’t last!