antony clarkson
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The Athole House Studio
Self-Isolation Artist Residency
30th March 2020 - 7th November 2021
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Over my career I have taken part in many artist residencies in various parts of the world; I have even organised and run a residency program myself. 2020 has brought new challenges to us all, I however intend to treat these challenges as opportunities. With this in mind today, the first day of my self-isolation having arrived back from my studio in the Untied States last night, I I launch my new blog which will become an integral part of this website as I redesign is over the coming weeks.

Artist Residencies give artists the space and perhaps more importantly the time to make new work; I intend to treat my time in self-isolation in the same way that I would if I were on an artist residency in another studio in another part of the world. Athole House Studio maybe one of my home studios but for me it is a work space, and lets face it, we all now have the time.

The Self-Isolation Residency 20th April 2020: Day 22

4/20/2020

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Exploring Installation No. 1: 'Tension', The Holden Gallery, 2009, Antony Clarkson

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I have decided that now is a good time to start to mix up my blog posts a little. My current project and painting are still progressing very nicely, but if I post photographs of the painting everyday I think it is likely to get a little boring for you reading this as sometimes the differences in it from day to day appear to be quite small although they may have take me a days painting to achieve them. It is therefore my intention to periodically intersperse posts about my current work with archival images of some of my earlier work with has some relevance to something I have been discussing recently.  As a great deal of my post yesterday talked about how I am considering if working with an installation piece might be an appropriate way to explore my current project more fully, I have decided to begin this new series of posts by going right back to the beginning of my career as an installation art and introducing you to 'Tension'.

It may not seem very likely but my installation work is actually a direct offshoot from my paintings, not so much the kind of painting that I am currently producing for my current project but from a very different form of painting which I created about 15 years ago and still make examples of today. 'Spatial paintings' and a form of 3 dimensional painting that I have been experimenting with since 2005, I will talk about them in much more detail at another point, but basically they use exactly the same 'technology' that a standard oil painting does however I manipulate this technology to create new ideas, shapes and forms. The main thing that these paintings rely upon for their success is the way that I stretch the canvas and the 'tension' that I create in doing so.
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'Please mind your head', spatial painting, 2006, Antony Clarkson
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'Conversation piece', spatial paining. 2007, Antony Clarkson
This connection with the tension of a material is very apparent in both my spatial paintings and in the installation Tension, it was far from being the starting point of the installation. Although this was my first true installation piece I had been considering how I would approach creating an installation when the opportunity arose. I knew that I very much wanted to work with 'space' as a material and I felt that when I did I really wanted to work with it in a sympathetic way. So when the opportunity to create an installation for the Holden Gallery came about I spent a great deal of time working with and getting to know the gallery.  I spent time there looking, listening and feeling both what the space had to offer and what I felt the space needed. Although this is an art gallery it is also part of a larger university complex, the upshot of that being that people are constantly using it as shortcut from their desired As to Bs. I decided that what I wanted to do was to disrupt these 'desire lines' at least for a short period of time. I wanted to put a wall right smack-bang in the gallery so that people could not rush through it without a second thought, I wanted to make them pause, if only for a few seconds and see the gallery space in a different way.

The unique architecture of the Holden Gallery was actually another feature which allowed me to make this concept a reality; half way down each side wall of the space the main walls are pierced by a double series of columns and arches. I quickly realised that these columns would be ideal as the 'stretcher'  for my 'painting', but on this occasion I didn't want to use canvas as my material. I wanted to work with a material that was almost immaterial, something fragile, something transparent. A material that if the people using the space so wished they could walk right through without any effort, only their respect for a piece of art would stop them doing it, and it did. So what was this mythical material that was so fragile but that I could stretch with tension across the whole with of the gallery to look so amazing? Simply ordinary supermarket cling-film .
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The Self-Isolation Residency 19th April 2020: Day 21

4/19/2020

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Today has been another day of details and that judgement of what and what not to include. An early feature of today's work was defining the outlines and details of the bottle and glass on the desk; in many ways I think that these help to establish the level of detail for the whole painting. These are the types of objects that are so important to this painting, they are objects which I have specifically selected as being things that 'tell part of my story' as to who I am. In some ways it could be said that this painting success could be judged as to how much a person who doesn't know me could learn about me from this painting.

This train of thought makes me wonder if I could or should go further with the details that I include; and if I do chose to go further how would that information, those details, be transmitted? In many ways I'd love to be able to include more details, for instance, I intend to have a book open on the seat of the chair. The problem is on the scale of something like this painting there is no real way in which I can adequately express what that book is. The same with music, I am including my stereo to show that I am listening to music, but how do I express what music it is?

I have been thinking for a while that perhaps this idea of the self portrait needs to express  media other than painting; an installation might possibly be a better way to go, but I'm not sure if an installation of my studio would be enough to be of interest to people. I'm also not sure at what point the studio would end and the art work begin? It could be argued that my studio is already the art work in that it is  the installation,  butit is not an art work as such, it is an actually real, working space.

There is actually already a type of example of what I am talking about here and although it is in an art gallery,, and it is fascinating,  it is not a work of art. The Hugh Lane Gallery in Dublin has a permanent 'installation' of Frances Bacon's studio. This is not a reconstruction, after his death all the contents of his studio where relocated to the gallery to form this 'display'. This does a lot of what I am thinking about for my piece, but for me it does have a problem that it in itself is not a work of art, although it could be thought of as a self portrait.  I think I will have to explore this further, but for more information on Frances Bacon's studio click  here.
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The Self-Isolation Residency 18th April 2020: Day 20

4/18/2020

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I'm now nearly 3 weeks into this residency and so far I'm happy witht the way the work is going, for a while I wasn't sure. I wondered if it was heading in the wrong direction for a while last week, if the theme for the project wasn't completely wrong, but then I realised that ir was just the painting that was wrong.  Now that I have started this new piece everything feels better.

I'm working quite quickly on this painting, which is always a good sign; it usually means that I am on the right track. If I take a long time on a piece, as I was beginning to on the last painting, it usually means that I am unsure if I am heading in the right direction with it, as proved to be the case. I am much more certain of this new painting, so far it is doing exactly what I want it to. But this quick process does mean that I have reached a critical juncture sooner than I expected.  As I mentioned yesterday after I have have completed to tonal blocking in I start to refine these tonal areas, to drag on the details that I want to include from the series of loose shapes that the blocking in creates. The blocking in is a very quick and free process, the brush moves at pace across the canvas giving just suggestions of what is happening with very loose brush strokes. And it is these loose brush strokes that are in some ways problematic. The free way in which these brush strokes describe the scene and the objects therein can be just throwaway marks destined to be painted over, but as a painter grows in experience these early marks, all be they  a form of under-painting can be crafted with great qualities of their own, so much so that they ask to be regarded as part of the completed work. This is the point that I found myself at this morning, I looked at my work from yesterday and realised that there were certain brush strokes that I need to retain into the finished piece; really good, descriptive marks that could never be duplicated.

This is where I found myself this morning, eager to continue with the painting, but having to take some time out to really closely access what I had already achieved so as to know what to paint over and what to retain. These can be a very difficult decisions as once an area is painted out it can never be retrieved exactly as it was previously so this careful analysis along with precise note taking is the only way to be completely sure; 'retain the top half of the yellow stroke on the left hand back post of the chair, but the lower section should be painted out in red'. From what I can see, I've managed to keep the balance right, at the top is todays progress for you to judge for yourself.
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The Self-Isolation Residency 17th April 2020: Day 19

4/17/2020

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Today I started the new painting, I had said a little while ago that I would try at some point to do a painting  where I will try to go through the whole process step by step, well it appears that thgis is that painting.  As I said yesterday I felt that the other painting that I am currently working on is too light and bright to really express what I want to about self isolation, not that I am really in a dark or depressed place mentally at the moment, although I do appreciate that a lot of people are struggling with the current situation. Personally I don't find my days affected so much by the lockdown  on a day to day basis; most of my days are spent in the studio painting or in my study doing research; I do of course still tutor some students and that of course can't happen in the same way as usual, but I can give them online tutorials as and when needed. So for me it's almost work as usual, but my reflective side really wants to express the potential dark side of lockdown not just for me but for everyone. If you like by creating this self portrait I am using myself as an example of what we are all going through.

So back to the practicalities of the painting itself. My basic start was exacting the same as the other painting and as the way that I pretty much always start a painting these days; on a black ground and planned the painting out by drawing the basic structure in in red (left hand image immediately below). You may remember that when I started the previous painting in this way that I thought it might give the whole painting an undesirable  underlying darkness; this is of course not an issue with the new painting, indeed I would have to say the darker the better.

On the subject of darkness this is where the first really  big difference comes between this and the previous painting and that is in my choice of palette. Generally when I paint I restrict myself to a very tight palette of just 4 colours to keep the balance of the painting harmonious. Many painitings tend to struggle or fail completely because the artist chooses to use far too many different hues within it. I take myself back to basics and just select one yellow, one red, one blue and one white to work with. In the previous painting, because I thought that I wanted the final product to be bright I selected hues that are quite close to the primaries, cadmium yellow, cadmium red and french ultramarine along with titanium white and these certainly did give me brightness. These are however not the 3 hues that I would usually choose to use, on the whole I work with richer, deeper colours and it is to them that I have returned in this painting; yellow ocher, alizarin crimson and prussian blue along with the titanium white, although I haven't used that yet.
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I'm approaching the this painting as I often do by breaking in down into 3 areas tonally, light (yellow ocher), medium (alizarin crimson) and dark (prussian blue) and block painting these areas to begin with.  As I said I'm going to take as many picture to go along with this painting as possible, so immediately above right, the first light tonal blocks added to the red drawing with the yellow ocher. Quite often at this stage the brush will pick up some of the red from the drawing lines as I work with it whilst it is still wet, but I really like that, especially in regards to the yellow.  Next, ( below left) I work in the middle tones with the alizarin crimson, these of course also pick up some of the yellow and have other interesting blending effects. And finally I block in the dark areas with the prussian blue (bottom right), this gives me a really good idea of what the final painting is likely to lock like and so gives me a good opportunity to assess it to decide if any changes are necessary, so far there aren't any needed.

So next the final but by far the longest and most complicated phase of the process begins, 'massaging' the paintings into a more detailed semblance of order. I have already just started on this process as you can see in the image at the top of this post, but more about this tomorrow.
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The Self-Isolation Residency 16th April 2020: Day 18

4/16/2020

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Jack the Ripper's Bedroom, Walter Sickert, 1907, Manchester Art Gallery.

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As I've been working on this project I've been constantly reflecting upon on it and on the current painting' although I am relatively happy with the painting, indeed I am very some areas of it, I do feel that it isn't the final piece in this project. I don't feel that it extends far enough towards exploring the concept of self isolation and social distancing.  Throughout this process I have felt that this project should be more about isolation and to emphasis that I feel that the painting should have a darker, more claustrophobic atmosphere about it.

As I've spent more time reflecting upon this over the last day or so I have found myself thinking about a painting by Walter Sickert that I am very familiar with; 'Jack the Ripper's Bedroom (top of post). My familiarity with this painting comes form visiting Manchester Art Gallery, where it is exhibited, but as a student myself and then later in life when I have been giving lectures to other students there. The dark and oppressive atmosphere that Sickert managed to convey in this painting made an early impression upon this young art student, one that has probably stayed with me for 40 years. In many ways what I really wanted to achieve with my painting is exactly what is happening in the Sickert, it has to be said that I feel I was distracted away from this initial feelings by other ideas, but now I feel that my first instinct was the correct one.

The Sickert has a wonderful feeling of intensity which I would really like to capture in my own painting; of course the title of the Sickert painting does add some weight to that. There is no real evidence that this was actually the bedroom of Jack the Ripper, Sickerts landlady at 6 Mornington Cresent, Camden apparently told him that she suspected that the previous tenant of the room was the infamous serial killer and Sickert just couldn't resist using the idea. But it isn't just the title that carries this weight  of tension, it is also the arrangement of the open doorway and the placement of the furniture along with the subdued lighting that add an element of mystery to the seen. Is that chair actually empty, oor is there a suggestion of somebody sitting there? No, surly, it's a trick of the light, isn't it? Once again I hear another echo of my own ideas, I intended for the chair in my painting to represent me in the painting thereby causing an ambiguity is to whether I'm really in the scene or not. If I can achieve half the feeling of atmosphere and claustrophovia that the Sickert does I would be more than happy.

And so to this end I have decided to start a new version of the painting and to go back to my original idea of it being much darker and more intense. I've started off by doing a could of new sketches (bottom of post), the scene has been rearranged somewhat to centralise the window, in homage to the Sickert,  and also to reference both side walls to give a feeling of enclosure to the scene. however starting this new version of the painting doesn't mean that I won't finish the current painting. It is actually very unusual for me or I would say most artists who work in oils to only have one painting in process at any one time; so tomorrow I start on the new painting but I will actually be working on both pieces at the same time.
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The Self-Isolation Residency 15th April 2020: Day 17

4/15/2020

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 Well I didn't get this piece finished today, but I have made great progress on the highlights and shadows. I have been concentrating mainly on creating shadows by lightening all the other areas. This is a great way to work in a painting like this where I want all the colours to be as bright and vibrant as possible.

Above I have uploaded both yesterday's and today's image of the the painting to demonstrate both how the painting has progressed, (please forgive the wildly different lighting),  but more so to demonstrate how brightening some areas can create shadows in others. Take the area of the 'rug' directly beneath the chair for instance; the 'shadow' yellow colour in today's painting is exactly the same as that area was yesterday, all the rest of the yellow on the rug has been painted to make that area repetitively brighter. The same has been done with the blue areas on the rug.

Talking about painting shadows brings to mind another area of contention that often arises for student artists: I don't know how many times I have been asked 'what colour are shadows?' And I have even heard other students say, 'shadows are grey'. No, shadows are not grey, unless the surface that the shadow happens to fall on is white or grey to begin with. Shadow, as demonstrated in the painting are a darker tone of whatever colour the surface is that they are falling onto. So if the shadow fall on a red surface the area in shadow will be a darker red and so on, its as simple as than.

Actually whist I'm on the subject there is perhaps an even bigger is here with the question 'what colour are shadows?' It's a question that should never have to be asked which is why if a student asks me that question I always have the same answer for them; 'look for yourself!' Seeing colour might to some extent be subjective, the red I see might not be quite the same as the red that you see, but the relationships between the colours and especially the tones of the colours we see do remain pretty much the same. This means that any artist should use the eyes to thoroughly examine what is in front of them and their brains to thoroughly interoperate what they see. Even if I did tell a student what colour a particular shadow is it probably wouldn't be exactly the same as the one they are seeing.
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The Self-Isolation Residency 14th April 2020: Day 16

4/14/2020

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I feel like today has been quite a productive day as far as the painting is concerned, letting it dry a little for the last couple of days was definitely the right decision. Depending on how wet certain areas are I could see me finishing it tomorrow. It has now reached the point of adding the detail, although I will say here and now that I really don't intend to add too much fine detail.

Detail can be the worst enemy of the painter, so many students and painters think that adding all the  fine detail that they can says so much about the subject, others of course think that adding fine detail shows their skill as a painter, both opinions are on the whole wrong. The real trick with detail comes in knowing what to put in and perhaps more importantly, what to leave out. Too much detail tends to weigh down a painting, to overload the observer with information, the subtly of just using enough detail to transmit an idea, and that is of course what painters are doing at the end of the day, is far more effective than painting every eyelash on a 2 inch tall figure. The same can be said about the artist who tries to show off their technical skills by including finer and finer details. It actually shows a much greater level of materials control and self assurance to be able to just 'suggest' the traits of an object of a person with a few deft flicks of the brush than to spend a lifetime adding details that in the final analysis are not noticed by the observer in their appreciation of the piece.

As far as my painting is concerned I will be concentrating more of the details of highlights and shadow to try to bring it too life. These are important details, they give a believably to the subject, even if it is semi-abstract. Highlights and shadows give objects weight and gravity, we know the relationship between objects and the world by the way light reflects off a surface and proximity of objects by the  they cast shadows. We don't need to be great artists to 'read' how these things work in a painting, it fact if we consciously read them they are probably not done well. When we look at a painting and 'believe' it without question or knowing why, then the painter has done their job well.
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The Self-Isolation Residency 13th April 2020: Day 15

4/13/2020

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The Texture of Water

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Well today has been a very different day for me, yesterday was the last day of my 14 day self imposed quarantine and I'm glad to say that I'm symptom free. However just because I'm no longer in quarantine  doesn't mean that my residency here is over, the residency is about self isolation not quarantine, the residency will continue until self isolation and social distancing are a thing of the past and I am free to move, travel and work where I like.

The real significance of today for me was that I could start to leave the house for the first time, even if it is just for limited times to buy groceries and to exercise. As I was ready to do both of these things it does mean that my time in the studio today was rather limited so once again. I chose not to work on my painting today and to give it another day to dry some more. So with the opportunity to go out I took my camera for a long walk along the shoreline.

The decision to take this opportunity has worked out well for me, as I said it has lead to a very different kind of day, but a difference that I was on reflection very much in need of. being confined to the house for 2 weeks hasn't been a real hardship for me, I have an extensive library and plenty of work to keep myself occupied but I was in need of fresh air and exercise. I am very lucky to live in a place where I have both the coast and the mountains right on my doorstep. As I hadn't done any serious walking for a while I decided to begin gently with a 5 mile walk along the coast to get some fresh air and to watch the water.
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The movement of water is fascinating, even on a clear calm day like today it has so many textures and moods. The photo at the top of today's post is the one that says the most to me, it's very much the way I think of the water here, 'liquid lead'. It almost feels like the movement of mercury, quicksilver. Whenever I come across on the ferry home I' malways struck by this leaden water.

At another angle the water once again becomes clear and I can see the combinations of textures both above and below. And at the best of times we get highlights, shadows reflections, retractions and transparencies. These words seem to describe the way an artist looks at everything, perhaps that's why I love water so much.
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The Self-Isolation Residency 12th April 2020: Day 14

4/12/2020

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Today I  have taken a short break from working on my self portrait, as it is still quite wet, and have returned to working from some my landscapes studies. I've used this as an opportunity to explore some of my mark making techniques. The self portrait is being painted entirely with brush and the 'qualities' that those brush marks bring to the painting are really so important, as demonstrated by yesterdays details. With this in mind  I decided to approach today's landscapes entirely with the knife to give myself a comparative series of marks  to study.

Personally I have no preference between working with the brush or working with the knife, on the whole it often comes down to the way in which I am feeling as to which one I select to use. Funnily enough when students arer first encourage to try using the knife they thing of it as a 'blunt instrument', something entirely inappropriate to painting with. And I won't deny that it can take a little time to get the hang of the knife, but once you do it becomes a real pleasure to use.  As with the brush an awful lot of knife technique comes down to confidence, you really have to understand the varying pressure of touch that is needed to apply a layer of paint, often to another still wet layer of paint, to achieve the desired effect.

Yesterdays details that I posted were all painted very freely, really just blobs of colour here and smudges of colour there. Layers were applied upon still wet layers, so although the paint was applied freely there is also a large amount of care, which really only comes from experience,  is needed to not smudge the layers below. This is a technique that I have come quite adept at with the knife so today I tried a direct comparison with the knife. Once again I worked from a black ground and 'spread' on large areas of flat colour with the edge of the knife to suggest the basic areas of the landscape; sky, mountains, water etc.  As with the self portrait the paint went of quite thickly and with a fair amount of texture all of which I wanted to retain and hopefully add to with the subsequent layers.
 This is the point that can seem nerve racking, I now have to have a very light hand to add extra oily layers and layers on top of this insecure foundation. Most of this is done with the flat of the knife, which in a way makes it harder as you really cant see the mark you are making properly at the knife blade blocks your view. All I can really say is that once again it takes practice to know much much, or more to the point how little pressure is needed to add the new paint without disturbing what is already down, the one tip I would have it that if you feel even the slightest resistance you're probably applying too much pressure. One these layers have been applied you have two more things to do, the first one is breathe, because you probably haven't been doing for the last few minutes! The second on is to use the knife in a totally different way, to use it to 'draw' or even 'carve' the final marks and details into the wet paint, this is possibly my favorite part of working with the knife as it combines all the aspects of art I love the most, drawing, painting and sculpting
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The Self-Isolation Residency 11th April 2020: Day 13

4/11/2020

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Yesterday I mentioned how interested I was in a certain portion of the painting, the object on the wall behind the easel ( top left) and how I felt that it might be the inspiration for a painting in it's own right. Whilst I've been painting today I've been looking at some of the details that I've included and realised that I am not just creating one self portrait/ still life, but that there are actually a series of still lifes going on in this one image. So this evening instead of looking at the whole painting I've decided to 'isolate'. appropriate word there, four of these vignettes for closer study. What the first one is I have already said I won't identify at this time and I'm hoping that the other three are self explanatory so I won't worry to much about naming them.

The second object ( top right) also appear in the painting at the very top of this blog, although more in silhouette. It isn't quite finished in this version just yet, but I hope that it's already recognisable  as a globe. As with everything else included in this painting it says something about me, indeed this is one of the more common historical portrait objects and in my painting the meaning is just the same; travel. I spent quite a while deciding whether or not to include this as the object to show my love of travel, I had considered for quite some time including my passport in the painting. considered it to be a 21st century equivalent of including the globe, but the more I thought about it the more I had issues with it.  The main issue with including my passport was actually the issue that made me rethink my whole approach to the painting in the first place, I've mentioned it before, it is the idea that I include all of these character traits but that I do it in such a way that they appear to be natural within the painting; as though they should just be there in the studio. the idea of including my passport just lying around in my studio seemed to false to me and so in the end I decide to go with the class image of the globe. Actually if you look closely and if I paint it well enough there is another message within the globe. 
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The next detail (above left) I have included in this review purely because I love it! In a way it forms a little still life all by itself. As I've mentioned I have done a lot of still lifes previous and I've also taught a lot of lessons based around the still life. One of the things that constantly comes up in these classes is how to paint drinking glasses glasses and glass bottles so I've done this many times before but im not sure that I've ever done it more successfully before and certainly not on a 2 inch scale. The trick to painting glass is lightness, think of the glass as almost insubstantial, in some ways don't try to paint the glass, just paint the light that falls on it.

And so to my final miniature still life (above right) the book I've just put down.  Once again this is one of those staples of the still life repertoire,  the open book, how does one paint all of those pages?  Well the answer is quickly, with a single brush stroke and lots of confidence, let ethe paint and the brush do the work for you.

this is just a quick insight into some of the datils of the painting and how they are painted. I hadn't intended for this page to be a tutorial when it started out but it has become that, however that's actually given me another idea. At some time on a future post, probably after I have finished this painting, I will go through a tutorial with images of how to paint some of these objects from scratch for any of you that are interested.
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  • CODEX
    • plane >
      • Apophenia: An Uncanny Presence.
      • Control(s)
      • Personal Topographies
      • The Self-Isolation Residency
      • Americana
      • Mauve Skies
      • Scotland
      • Selected Drawing & Paintings,
      • The Teaching Years
      • Spatial Paintings 2006-2008
      • Paintings 2006
    • mass >
      • The Blind Men and the Elephant.
      • Spatial Conceptions 2014 - 2022
      • Painted Objects
      • Autograph
      • The Newtonian Nightmare
    • volume >
      • Enso nest
      • Someone else's storey
      • Shower, The Process Residency 2013,
      • Concrete Haiku
      • Atypical
      • The Murder of Crows.
      • Composition in White (Painting), The Breathe Residency:
      • Composition in White (Sculpture), The Breathe Residency:
      • Floorplan
      • Paper Scissors Rock
      • Pilgrimage
      • The Fifth Column
      • Tension
      • Arch
    • blogs >
      • The Self-Isolation Residency: Blog 2020-2021
      • Apophenia: An Uncanny Presence. 2022
    • artist statement
    • cv & education
    • contact