Ciara and I were lucky enough to be invited back to our friends lodge on the banks of Loch Fyne in January.
On our previous visit to Nikki and Mike's beautiful home, in September 2020, we had been blessed with days of clear blue skies and warm winds. We rowed out to a beach, swam with seals and completely fell in love with this most glorious of places.
This year, the skies were grey, it rained almost non-stop and, being quite far north, the sun (?) didn't rise until 9am and fell back to earth around 3 in the afternoon. We still got out for walks along the shoreline, squelching all the while, and in truth, such is the beauty of this part of Scotland that it still took our breath away.
I always have odds and ends of MDF lying around my studio in Wingfield so anticipating long hours indoors, I decided to take a selection of small boards (15cm square) to Scotland. The size was dictated by two criteria; a small car and the desire to waste as little oil paint as possible if my efforts proved futile.
I then scavenged around our leaky conservatory and Oscar's bedroom for any tubes of oil paint and brushes, pallettes etc.
Working from photographs, I decided early on to work within my limitations, the main one being a complete lack of experience in oil painting. My abstract work lent a good colour sense so it was really a case of letting the paint find its way.
Day 1 was prep day - I mixed up some paint with some Liquin which I found and painted each board with a grounding colour based on those around the shoreline. The lodge was filled with that irresistible (to me at least) smell, reminiscent of the artists studio I had recently visited and I was beginning to feel that my journey had begun.
Day 2 was a reality check - half a dozen blank boards demanding to be filled.
I discovered that limiting myself to small boards provided an ideal place to start on my oil painting journey. The results are pleasing and serve as reminders of some wonderful times. I intend to do more when we return to Loch Fyne in January 2024 if only to enjoy the intoxicating scent of turps.
Every so often, I get asked to undertake a different style of framing. That may involve working with new materials, applying different techniques and, as happened recently, working with an exciting range of colour schemes.
Here you can see the various stages of the work and the finished results - definitely one of my most enjoyable commissions to date.
The brief was to frame 16, 12cm square fragments of paintings, arranged as shown above, with contrasting mounts and frames.
Each fragment needed to have the same border all round. This required painstaking marking out of each mountboard prior to cutting. .
Cutting multiple windows requires particular attention to over- and undercuts (those lines that one often sees in the corner of windows where the blade has overrun.)
The frames, constructed by us out of 35mm flat beech, were sanded and painted using 2 coats of Little Green sampler colours
Finally, it all comes together.
Reconstructed frame
To Life - Corner Detail
Oscar Butcher - Acrylic and ink on board
Oscar is the reason we're here. I started making large (2m x 1m) canvases for him during his A level studies and became so enthused that I began framing - the rest is history.
Oscar's work reflects his desire to experiment with styles, materials and scale, drawing inspiration from a wide range of sources.
My story is probably true of countless people around the globe, forced by the COVID 19 lock down to spend a lot of time reflecting on life, the past, the future and one's place in it. For around 40 years, I've made things, flirting around the edges of the art and design world but never having the confidence to believe I could be part of it. Over the last 4 months, however, something has changed. With no formal art school training, I'm not sure I'm equipped with the vocabulary to describe why I'm creating what I do. My art is of the moment, it's completely unplanned, each piece unique and made by hand. I don't judge them, that's for others to do. If observers respond to them in any way, be it the form, colour or their physical structure, then my time has been well spent. My style is evolving all the time - inspired by things I see around me and by the art of others.
If you're interested in seeing more or would like to share your own creative experience, feel free to drop me a line. You can also find my works at: https://www.saatchiart.com/ivorjb and https://www.instagram.com/ivor_butcher_abstracts/?hl=en
Don McCullin - Guvnors - Giclee print, in an ebony stained ash frame, full bleed
Primary school artwork from over 40 years ago
Matching sample mouldings to a Colin Moss oil on board #1
Map of Argyll in its new home
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