Wednesday, December 31, 2014

Annual Review: 2014: Flickr, Blogger, Facebook, and other sites

Alfredo Wagner, a small town nearby, oil on card, 16,5 x 18 cm

I travelled to Morocco, the UK, Bolivia and made some excursions in Brazil, including Salvador, Bahia. The Moroccan trip went especially well.


A little posy, oil on card, 11 x 12 cm

I often painted flowers. I like painting flowers because it can be very intimate and one can use very bright colours. If the landscapist is paiting the world, then perhaps the still life painter paints his inner world: I carry Redon's torch. 

I increased the size of works, using brighter colours on lighter supports to make more vibrant painting. I am going to increase the size in the next year again.

Looking back, however, I feel I became somewhat channelled into certain compositional and working processes, sometimes becoming repetitious. One finds solutions: why not repeat them? But that way lies boredom. The artist must engage: the sort of landscapist that I am is fundamentally expressionist and one who depends heavily on novelty of experience for inspiration.

 Bolivia: paintings from Potosi

Travel  is often  lonely and tedious. But there is something immensely satisfying about the narrative of a journey: to simply be able to state in paint I was there and then press on; to have gone from a- z. Travel lends urgency to art, and it's not surprising that so many landscape painters were great travellers.

But there are different ways of going about this: the linear journey with stops on a line (a-z); the tour, which begins and returns to point a (a-a); and the star: the option of staying in a fixed point and making excursions from there (a- b, a-c, a-d etc). This last is the least tiring, but does not allow the intellectual satisfaction of having a clear narrative.

There are of course, combinations of the above, but it is this last which I am most likely to adopt in future: this star format frees one from the tedium of packing and unpacking, lugging bags and finding places. It allows one to relax more, to become orientated, and if the weather is poor one day, there is always another on which to work.

Paintings from Morocco: the complete set


I have continued to use this site, and it contains a complete catalogue of my work. I have 838 followers, up from last year's 721.


The number of followers went up from 78 to 83.


I enjoyed using this site to show work, and it`s a good place to make contact: add me there if you wish.


I revised my site here and sold four paintings through their portal. It is wiser to buy work directly from me, however: it is faster and cheaper.


There are no immediate travel plans, though I dream of going back to New York in 2015, and to Scotland. But this depends very much on sales and money, which are, to a degree out of my control. The economy in Brazil is not healthy.



Thanks to those who bought work, offered criticism online or in person. Thanks to those good anonymous souls who assisted my in my travels in Morocco (especially the German couple who bought me dinner when my bank card was swallowed by the cash machine in Taroudant, and the Moroccan fellow who bought me breakfast) and Bolivia. Thanks to my very supportive parents. Thanks to Jonathan Heald for use of his beautiful house in Florianopolis for a little exhibition; and thanks to John Collins and Jane Wheeler for bringing me paints from the UK. Thanks to the Ecclestons for their hospitality and kindness in London.

Marrakesh: cart and market, oil on card, 14 x 13.5 cm


Tuesday, December 23, 2014

Inspiration: matchbox labels

 A Dutch label: very bold and pleasantly naive. I especially like the flattened cars on the right.

 English labels, produced for collectors: somewhat reminiscent of Ladybird books, faintly romanticised. The blue borders don`t look complement the images.

 Tunisian (?)  label: deco with Islamic elements.

 Japanese label: using the conventions usual in Japanese prints.

 Indian label: naive and rather charming.

Swedish label: the  high production values and sophistication of drawing are typical of Swedish production.

 Another vaguely Deco label: A Swedish production for the Tunisian market: elegant and effective using only three colours and white.

 Another Swedish design, this time depicting a homestead.

 Eastern European label designs under Communism reached very high levels of quality. They are often directed towards collectors. These exquisite Russian designs depict a heroic Moscow. Through magnificent, for me the pleasure of popular art forms is not so much in their quality of finish but in their spontaneity and ruggedness. Indeed, one might argue that these are not really suitable matchbox labels in a  practical sense, as its doubtful  anyone would feel  at ease using a box so elegantly labelled to light their stove.

Ambitious Czech label, which seems to owe something to English 30`s neo-Romanticism.

A sports ground: also from Czechoslovakia.

These matchbox labels represent various degrees of abstraction in the depiction of landscape and architecture. 

It is always difficult to translate the stylistic solutions of design art into process led art - specifically painting in my case. I mean, it is risky to look at these labels and say- I'd like some of those qualities in my work, when those qualities are indeed specific to labels and not translatable into the medium and means of plein air painting. But- there may be something in the simplification of forms and colour on a tiny scale in the examples above, that I can take and use in my own small pictures.

I express this caution because I spent, and perhaps wasted, considerable time looking at old photographs and desiring the qualities I found in them in the very different art of painting pochades. It can be argued that I have committed a similar error by trying to learn from photos of paintings online, instead of seeing them in the flesh, so to speak, thus loosing a sense of scale, texture and true colouration.

 One of the things that photos have in common with label design is orderliness, cleanliness, a smoothness of surface and an absence of gesture: the properties of mechanical image production. These are not properties readily available in the style of painting I follow, whose virtues lie surely in the opposite of that of mechanical image production: that the artist`s  working processes are evident, and that the medium is ever imprecisely controlled by the human hand.

Friday, December 19, 2014

Pop-up show in Rio Vermelho, Florianopolis

 Here are some photos from a pop up show, held last night at  Jonathan Heald's elegant place in Rio Vermelho, in the North of the island:


 Some Bolivian pochades

The evening was a pleasure and it gave me a chance to look over my work from 2014.

Many thanks to all who came, and to J. Heald for his fine hospitality. 


Tuesday, December 16, 2014

A day on the continent


 Palhoça, a view, oil on card, 18 x 14 cm   NOT FOR SALE

A day trip to the continent: I am slowly getting things ready for a longer excursion to Lapa, in Parana, and back again, between Christmas and New Year.


Monday, December 8, 2014

Possible pre-selection for a pop-up show

This is a possible pre-selection for a pop-up show up in Rio Vermelho, at a friend`s house, on the 18th. 

It`s important to show work, if only to give oneself a notion of what one has acheived. I`m going to be showing some pictures from this year- a selection of about forty altogether- and I`ll include work from Bolivia and London, though mainly they`ll be from Brazil. 

I`m fairly happy about the general standard- inevitably, there are repetitions and the odd dud, but I managed to maintain a fair momentum across the months, and after selection the display should be reasonably good.


To buy work, please email me: 

All the pochades cost 120 pounds sterling plus 20 pounds post and packing (this covers up to five pochades). I accept the equivalent in other major currencies. 

Pictures take up to 21 days to arrive.


Thursday, December 4, 2014

Rio Vermelho, nature

Rio Vermelho, nature, oil on card, 15.5 x 17 cm

Rio Vermelho is one of those relatively obscure parts of the island which, like Ratones,  I love to visit.

There is something mysterious about it that invites a sort of painting, derived from Corot (a French master whose work, once so famous, is falling into obscurity) and which concerns the secret.

Wednesday, December 3, 2014

Canto da Lagoa, large tree on a ridge

Canto da Lagoa, large tree on a ridge, oil on card, 15 x 18 cm

Painted close to the where other "ridge" paintings were exectuted: there is a lot of interesting subject matter here: the road curls and undulates happily and there are still small farms despite the encroachment of suburban developments nearby.

Tuesday, December 2, 2014

Praia Mole, December 2, 2014

Praia Mole, December 2, 2014, oil on card, 16.5 x 17 cm

Thursday, November 20, 2014

Fields near Praia Moçambique


Fields near Praia Moçambique, oil on card, 14.5 x 16 cm

Painted on my way back from Rio Vermelho, an area that seems to be a refuge.


Tuesday, November 18, 2014

Joaquina, November

Joaquina, November, oil on card, 16 x 18 cm     SOLD

Painted plein air (as are all the pochades) overlooking Praia Joaquina, in my mind the loveliest of the beaches here.

I shall, most likely, be unable to travel far this New Year: but I shall at least try to make some sort of excusrion into anta Catarina, and Parana.

Monday, November 17, 2014

Barra da Lagoa


 Barra da Lagoa, looking towards the sea, oil on card, 18.5 x 15 cm


Sunday, November 9, 2014

A drive to Alfredo Wagner


 Alfredo Wagner, trees by a river, oil on card, 18 x 15 cm

Alfredo Wagner, view from a hotel, oil on card, 15 x 16 cm

Some pictures from a recent trip to the very German city of Alfredo Wagner, in the mountains.


Friday, November 7, 2014

A shoe with a bow

A shoe with a bow, acryllic on card, 2.5 x 3.5 inches

One of a series of small pictures depicting shoes, on their way to the Netherlands.

Wednesday, November 5, 2014

Canto da Lagoa

Canto da Lagoa, oil on card, 15 x 15.5 cm

Canto da Lagoa, oil on card, 16 x 17.5 cm

Two from the ridge overlooking Lagoa.


Please contact me if you are interested in buying works from this site. 

There is a delivery time of up to twenty days, though usually it is faster.


Tuesday, November 4, 2014

A little posy

A little posy, oil on card, 11 x 12 cm

Sunday, November 2, 2014

Flowers, November 2, 2014


Flowers, November 2, 2014, oil on card, 15 x 16 cm  SOLD


Wednesday, October 29, 2014

Submissions for Visual Arts Scotland Annual exhibition


 Tozeur, Tunisia, a desert stadium, oil on card, 12 x 14 cm

Two Brazillians walk along a highway, a dog forages, oil on card,  12.5 x 14.5 cm  SOLD

Two pictures submitted as digital images for this exhibition in Scotland.


Monday, October 27, 2014

Coming from Joaquina

Coming from Joaquina, oil on card, 17.5 x 18.5 cm

Another beautiful day here. It is becoming quite hot. The community here are extremely friendly.

Friday, October 24, 2014

Beiramar Avenue, clouds and sea


Beiramar Avenue, clouds and sea, oil on card, 16.5 x 14.5 cm  SOLD


Thursday, October 23, 2014

Bridge, Aguas Mornas

Bridge, Aguiuas Mornas, oil on card, 18 x 15.5 cm

Monday, October 20, 2014

Rose Issa Projects, 82 Great Portland Street, London W1

A further image from Rose Issa Art Projects closing show at  82 Great Portland Street, London W1.

Wednesday, October 15, 2014

Small town near Palhoça

Small town near Palhoça, oil on card, 18.5 x 16 cm    SOLD

Thursday, October 9, 2014

Three recent landscapes


 Landscape to the north of Aguas Mornas, oil on card, 13 x 14 cm

Aguas Mornas, oil on card, 18 x 16 cm  

The first is in my neighbourhood; the other one from the continent. 


It is starting to heat up here and in a month or so it will be quite intolerable. So it`s important to decide what to do about the Summer: most likely I shall try to go to Europe and Morocco. I haven`t travellled anywhere much for ages and I could do with some different scenery to paint.


Tuesday, October 7, 2014

Paintings at Rose Issa Art Projects

Pictures from Egypt and Morocco exhibited in their carriers

Cairo- a view from the Citadel, looking south, Oil on card, 16 x 11 cm

Cairo- little Coptic church near the press agency, oil on card, 12 x 8.5 cm

Taroudant, gates, oil on card, 12.5 x 12.5 cm

Paintings on exhibition at Rosre issa Art projects,Great Portland Street, London.


Many thanks to my beautiful friend, Lise Colyer,  for these photos.