antony clarkson
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      • Apophenia: An Uncanny Presence.
      • Control(s)
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      • 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

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 31st AUGUST 2020: DAY 155

8/31/2020

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'I'm just going to leave this here...No:46', "Work".

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THE SELF-ISOLATION RESIDENCY 30th AUGUST 2020: DAY 154

8/30/2020

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'I'm just going to leave this here...No: 45', "Study".

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THE SELF-ISOLATION RESIDENCY 29th AUGUST 2020: DAY 153

8/29/2020

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Near Black Series, 'Near Black First Grey Void, Impasto & Wash',
 oil & resin on canvas, 30.5 x 152.5 cm.

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'Near Black First Grey Void'. Well as I thought it didn't need much more work on this painting, relatively speaking that is. I just had to build up a couple more layers of impasto work on the upper section.

As I mentioned previously these piece are heavily influenced by landscapes, or perhaps more properly skyscapes. These paintings are voids, spaces in the air, sky, space or mind; places to travel or escape to. From that point of view they are also windows or more properly doorways. As I've said previously the size and shape of these paintings is deliberately anthropomorphic, to allow the observer to relate to them as another presence in the space. But they are always anthropomorphic in the same way that a door is, they are a similar size as a human body to allow escape through them.

I'm really excited by how this particular piece has worked out, I knew that it was finished when it was finished, which is often a difficult thing for a painter to know, but it is always a good sign when it does happen, it usually means that something special has occurred. Another good sign is that although this painting is finished I am still very excited by the ideas behind it and so I have already started to prepare another stretcher of the same format, on which to begin painting another piece further exploring these same ideas.

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THE SELF-ISOLATION RESIDENCY 28th AUGUST 2020: DAY 152

8/28/2020

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Near Black Series, 'Near Black First Grey Impasto & Wash',
work in progress, oil & Resin on canvas, 30.5 x 152.5 cm.

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This latest painting has been proving very difficult to photograph, so I though I'd try in in a more domestic space to allow me to present it in a different format and hopefully to give a better idea of it's scale. In this photograph I have just lent  the painting against the wall, which I actually really like. Next I would like to find a space to hang it to study its presence when it is presented in that way.

I do still consider this to be a work in progress, although in actuality it could already be finished or at least very close to being. For now it has been returned to the easel for more consideration. The areas of wash towards the lower half of the painting feel very coherent to me and probably complete. I'm slightly less convinced about the impasto areas at the top of the painting and these doubts are now reinforced by this photograph. Obviously I don't expect a photograph of a painting to actually tell it's true story, but it does give me another way to study and question the piece. As I now look at the piece photographically I realise that the impasto section is almost indistinguishable    from the wash section. This has made me reevaluate the impasto section, possibly it does need more work.

So, still a work in progress then, at least for now.

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THE SELF-ISOLATION RESIDENCY 27th AUGUST 2020: DAY 151

8/27/2020

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'I'm just going to leave this here...No:44', "Shadows".

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THE SELF-ISOLATION RESIDENCY 26TH AUGUST 2020: DAY 150

8/26/2020

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Near Black Series, 'Near Black Wash', work in progress,
oil & Resin on canvas, 30.5 x 152.5 cm.

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Over the last couple of weeks I've been trying out some new ideas and experiments for paintings in the 'Near Black Series'. Most of the pieces which I am currently working on are quite small, but are quite labour intensive, they require multiple layers of thick impasto oil painting and resin which takes a long time to dry between layers. As I played with these pieces I began to think about how the colour palette I've created might work with thinner paints over a larger surface area, how areas of transparency and translucency would change how the colours work in relationship to the thick impastos which I normally use.

One of the things that struck me about working in this new way was that I would have to increase the scale of my paintings to allow for the greater variety of techniques, but I still wanted the 'scale and form' of the paintings to be a dominant feature of their nature. I have for quite some time been thinking about creating paintings which have an anthropomorphic nature to them; paintings that still have a relationship to landscape and to the spatiality of the void, but that also have a relationship to the human form. I have therefore created some new stretchers, because of the size of these pieces I have returned to stretched canvas for them to reduce the weight, which are tall and slim to mimic or at least be reminiscent of the human form.

So far the project is in its infancy, but already I feel that there are definitely elements of the paintings that are beginning to work. This anthropomorphic form appears to be a real success, the paintings are of a form and scale where they can be hung onto a wall or they can even be lent against the wall to give them a human-like presence and relationship. The washed out 'Near Black is also proving to be interesting; in the areas where it is wash-like the true 'purplely' nature of the paint is revealed as opposed to its near black form which is still exhibited in the impasto areas.

As I have said, these are very much experiments and works in progress, so I will be interested in their development, and I will also be interested in peoples reactions to them.
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THE SELF-ISOLATION RESIDENCY 25TH AUGUST 2020: DAY 149

8/25/2020

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'The Constant Library',  Volume VII: "Henry Moore", John Russell.'

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'The Constant Library',  Volume VII: "Henry Moore.", John Russell.'

"The idea for 'The Constant Library' follows on from a recent conversation considering which books had, and continue to have, the greatest affect my life in a variety of different ways. These are the books I can't live without and whenever possible I have a copy of with me wherever I travel in the world.; my 'Constant Library."

For the first I am adding a biography to the Constant Library tonight; but as an artist I find "Henry Moore" by John Russell to be so much more than a chronicle of a persons life story. 

Russell's analysis of Moore's life and work is not only a superbly written history of a man and his times, it is also also a wonderful, astute and detailed exploration of the inspiration behind and the evolution of this formidable sculptors art. It is for any student of art history, or indeed any artist, a revealing portrait of what it means to be an artist, where he came from, how he got there and where he, or any artist, should be going.

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THE SELF-ISOLATION RESIDENCY 24th AUGUST 2020: DAY 148

8/24/2020

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'I'm just going to leave this here...No:43', "Travel".

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THE SELF-ISOLATION RESIDENCY 23rd AUGUST 2020: DAY 147

8/23/2020

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"Grey Dawn & Yellow Light, West Bay, Dunoon", oil on canvas,
25 x 25cm, 2019, #artistsupportpledge

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Another piece from my back catalogue  today whilst I continue to work on my 'Near Black Series'. I'm adding another reduced price older piece to my #artistsupportpledge portfolio.

"Grey Dawn & Yellow Light" is another piece from the Carved from this Land' series which I completed for exhibition at Dunoon Burgh Hall in 2019.It is also another piece with the same direct connection to my current 'Near Black' series in fact it has heavily influenced my current work.

"Grey Dawn & Yellow Light, West Bay, Dunoon", oil on canvas, 25 x 25cm, 2019, £120 plus p & p. #artistsupportpledge

If you would like more details or are interested in adding to or starting your collection with this work please contact me through this website, via Facebook messenger or email atholehousestudio@gmail.com .
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THE SELF-ISOLATION RESIDENCY 22nd AUGUST 2020: DAY 146

8/22/2020

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'I'm just going to leave this here...No:42', "Breathe".

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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