All posts tagged: abstract

‘Jaws’ – Shark Painting

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I am very excited that my original painting ‘Jaws’ is being made into a limited edition print, with editions of 75. It is a privilege that this piece is endorsed by The Shark Trust, a wonderful charity. The misunderstood nature of sharks means that their demise as a species is hugely overlooked. Their importance within the marine ecosystem is of such huge importance to the health of our oceans. There are many threats to sharks that can have adverse knock on affects. The global decline of sharks can create a cascading effect. As one of the ocean’s top predators, sharks have potential to structure ecosystems in crucial ways. Decline can mean rearrangement of marine communities. One of the biggest threats to sharks globally is overfishing.  This is fuelled by a large demand for shark products such as meat and fins, cartilage, leather, teeth and jaws. Other threats include finning (the cruel practice of cutting off a shark’s fins whilst alive. Also, pollution and habitat destruction contribute to the hugely declining numbers. Climate change and pollution …

2017 / Katy Jade Dobson

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It is always exciting for me to reflect not only back on the previous year, but to look forwards at the opportunities and challenges and watching them become real.  Currently I am working on a new collection. Much like early last year, I am working hard on a full set of oil paintings that are interlinked, their concept is laced throughout the collection and their visuals are woven together. Working on a full set together is a piece of time that eventually reflects directly into a real, tangible ‘thing.’ I have often talked about pockets of time being mirrored in a painting, but a collection evokes both a memory of a period of time, or a feeling of de ja vu. This particular collection is exciting for me, and always, is an effort to push forward with my craft, honing, building on, and learning new skills. As well as an impending new collection, I have other very exciting things going on this year, which I will certainly be notifying anyone interested, though this website, my …

My 2016 in summery

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Although on the broader spectrum of things, 2016 has been a tough year for so many people in many places, on a smaller and more personal scale I have known people to have had a great year, filled with personal achievements and good times. Early last year I worked solidly on a collection named The 21 Grams Collection. (See in full here) which was a great achievement for me. It was a body of work, full to the brim with enthusiasm and everything I had gained in knowledge and skill of art and my craft in order to create it. It was a personal highlight and achievement for me. This collection was shown in its entirety at Robertson Fine Art Gallery in Edinburgh, a place so stunning that I ventured back for the Edinburgh Fringe Festival later that year. Amongst this show, I visited some other beautiful galleries throughout the year to showcase new originals and prints. A standout for me was Eye Like Gallery in Beaconsfield. A wonderful gallery full of life and enthusiasm for …

New Release – Sea Life and Majestic Mammals

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I am so excited to be donating a percentage of profits from my new sea life themed release to the Marine Conservation Society. They work hard to protect our living seas and the wildlife in them by keeping shores clean of litter, tackling overfishing of important species and offering marine life animal adoption schemes. Keeping our oceans clean and healthy for the environment and its inhabitants is invaluable work. I love what they do to proudly protect our sea life and I am thrilled to be working with them. These 2 original paintings are particular favourites of mine, for reasons in that portraying sea life is a different challenge altogether. I had never painted turtles before working on these sea turtles which shows them swimming amongst a midst of intricate colours and textures. I had watched videos of these serene creatures on YouTube before deciding the way in which I wanted to depict them. When working on forming a mammal painting there is a logic to consider when building the subject. The light source will highlight features and …

Eye Like Gallery / Exhibition

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  Last weekend I had the privilege of exhibiting my work with the wonderful Eye Like Gallery in Beaconsfield. With a gallery full of my work exclusively, a mixture of limited edition prints and originals painted especially for the occasion adorned the walls in this beautiful space. The family run gallery  (the glamorous mother daughter duo Mollie and Saro above, along with Mollie’s father and their dog Brody) care deeply for their clients and the artwork they provide, basing the name ‘Eye Like’ on the way they only sell work that they love themselves. I was excited so attend this exhibition in the weeks leading towards it as I had admired Mollie’s innovative and witty take on their social media platforms (Instagram, Twitter, Facebook) and was keen to meet in person the passionate people behind the 2 year old gallery. I found that they exuberate passion and I couldn’t have felt more welcome. I found this family to be  a breath of fresh air in such a traditional field. The care and work they put in is blatant …

Laura Jones / Still Life Artist / Inspiration

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An artist I have admired for around 6 months via the stalking platform of Instagram, is Australian painter Laura Jones. I stumbled upon her Instagram page (@_laura_jones_ ) and immediately followed. With a meaty backlog of exhibitions, shows, awards and residencies her accomplishments have been as full as her engaging artwork. Although I love her whole back catalog of work including a portrait series titled ‘I woke up like this’ my favourite is her recent ‘Wildflower’ work which emphasises an expression of Australian identity. I find her work so warm and peaceful. The colour patterns are incredibly earthy while retaining the brightness of the flowers and vases. They are full and bold in application but soft by nature. I identify most to the tactful naivety of the brush strokes as well as the simplicity of the visuals. I very much hope to own one of these originals! This is the kind of artwork that I feel doesn’t need discussing at great length, it should be looked at and examine how you feel when you see it above dissecting …

Exhibiting at Robertson Fine Art Gallery

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In the heart of Edinburgh, in the wonderful Robertson Fine Art Gallery I had the privilege of exhibiting my new collection of oil paintings. I had been working on this group of paintings throughout early 2016 and became quickly engrossed in the collection as a whole. I tailed off into new sections, irrelevant subjects that still laced in throughout the main body of work and played around with more muted palettes and ideas alongside hugely embellished subjects . To see more of The 21 Grams Collection, see the work and read about its origin – click here. I was incredibly nervous to be showing this work. It had been months of dedication, hoping to put my best foot forward to prove to myself that I can challenge my own techniques and build on what I already know about painting to create the marks and flourishes that I needed. I taught myself new approaches through trial and error and got lost in a concept of building continuously until I had reached the desired effect. So much so, …

‘Flutter’ Limited Edition Prints

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A common question that I am asked is the distinction between ‘finishing or abandoning’ a painting (in terms of completing work) and which one applies to me?  There are two very different feelings when a painting is complete and is at most an unpredictable part of the process for me. Occasionally my idea is crystal clear enough to see when the finished version is in sight, or be unable to stop until I meet this mark in my mind. This is finishing the work that you set out with a cause, process and visual in mind. Abandoning the painting is a very different but equally as satisfying feeling, in when you reach a stage in the work where you feel it is right to stop. For whatever reason, it may be that the balance is right and anything more could be overworking it. Maybe you feel that what you are trying to put across has been successful and in going further could potentially spoil that. A number of reasons, even just that it ‘feels’ right to …

Jellyfish Art / Oil Painting

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It took a lot of preparation before I decided to take on jellyfish as a subject for an oil painting. Before tackling the big decisions you make before you start a painting (composition, texture, colour palette, tones etc) it seemed important to get a better understanding of jellyfish. Are they often alone or in groups? (Which I found to be named a ‘Plume’ when they migrated and gathered together) How do they move? At what speed? What different positions would you find their tentacles to be in? And which movement does this represent? The only way to really find out was to watch them, thanks to YouTube! There is something so peaceful and mesmerising about watching jellyfish, the way they pulsate their gelatinous bodies for locomotion and the tentacles fan out so elegantly. It was apparent immediately that the movement was the most important aspect to capture within a painting. For the fished pieces ‘Bloom’ and ‘Plume’ I used oil paints (as always) onto primed wooden panels. The most interesting part of the process for …

‘Life Imitates Art’

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In the age old debate of what came first; the chicken or the egg, I find myself deep in a philosophical tangent inspired by a late night online shopping purchase. I bought a necklace that gives the impression of an elegant snake coiled around the neck. Unappealing to some, beautiful and ethereal to me. This internal debate reminded me of a quote from Oscar Wilde – ‘Life imitates art far more than art imitates life.’ My exact reason for clicking my purchase straight over to the checkout was because it reminded me of a painting I did in my last collection (The Phosphenes Collection) which depicted a bizarre image of two symmetrical women holding up snakes, which are coiled deliberately around their arms within the confines of the symmetrical intension. (Original piece shown below / ‘Serpens’ oil on wood panel) This is one of my stranger pieces, this and ‘Nectar of the Gods’ which I also hold an unhealthy emotional clingyness to even after sold and gone. The reason behind loving these stranger pieces is …