Artist Bio, Exhibitions, Uncategorized

Faultlines and Fractures

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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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lifedrawing, Workshops

May Life Drawing

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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

Exhibitions

Charity Exhibition – Artist Bios – Pamela Greene; Edward Cartin

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”

 

Demonstration, Painting Techniques, Paintings

Spooky!

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….)

drawing, Workshops

Portrait workshop with Simon

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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!