My palette was auctioned last week for the amazing charity CRY and sold for £1025! I am so happy and incredibly proud that it will contribute to such a great cause! A link is HERE for my last post where I go into more detail about this charity and about the palette donated. For more information on CRY and what they do follow the link HERE to their website, or to donate towards their cause click HERE. Thank you so much to anyone who bid!!
I am incredibly proud that the palette I used while creating my Phospenes Collection is now available to bid on to raise money for the wonderful charity CRY. CRY is a charity based around Cardiac Risk in the Young and supports those affected by sudden cardiac death. Undiagnosed heart conditions take the lives of at least 12 young people every week, a number in which this charity is aiming to lower through their fantastic research and prevention efforts. I was made aware of the work of CRY through a private commission requested by a family who had lost their child to a cardiac condition. It should never be the case that a child or anyone should lose their life so suddenly over something that could potentially be diagnosed earlier on, CRY’s incredible efforts towards Young Sudden Cardiac Deaths with their research, raising awareness and prevention efforts in this field are life saving. The care and facilities to aid families affected by YSCD will continue to help so many people who desperately need it. To hopefully contribute …
This piece is now available to buy, showing two wire crested thorn tails amongst bramble. Abstract colours and contrasts between blended backgrounds and sharp detailing. This one has been particularly popular down to the colour pallet used. Oil on wood panel 35×23″ inches
I love the way that a palette can never really be tidy. As an artist that does not have paint thrown everywhere, but has different liquids, brushes and materials all compartmentalised and all surfaces clean of paint, the one element that stays the same with all artists is that there is no neat way to maintain a palette of paints. The way I lay out my palette has become habitual rather than symptomatic of the colour palette or any functional order. I line the paints as a spectrum, originally because I thought it looked pretty. Take away the colour (greyscale photography) and I can see that different mounds have been more exhausted and spread around than others, I can see how little tone has to do with my arrangement and it makes me wonder what elements of my work might change if I were to pre-think my colour palettes and order the paints accordingly… Contemplating the palette gives a lot more away about the artist, and maybe about why their work in the way that …
Recently I have been working further on my wildlife pieces. After the great reaction to my ‘Galloping Horses’ piece I wanted to work more on an atmospheric element whilst integrating factors of the idea of ‘The Golden Ratio’ and detail and space in close proximity. I recorded my progress, as usual, with this particular stag piece of the 3 sessions I have done so far. This piece has taken into consideration my recently learned word ‘phosphenes’ (the sensation of a ring of light and colour as a result of pressure on the eyeball) to bring about an abstract colour palette with glints of light as embellished detailing, also depicting beams of light on a forest floor. It is always useful to look back over the progression process of a piece, it shows how far it has come along, as well as what has been added in terms of atmosphere and general aura, over just likeness and realistic correctness. As for the subject, stags have been close to my heart since finding my footing as an artist. Stags have …
My portraiture piece has come a little further along 🙂 I am enjoying throwing colours about in this one and seeing how they work together. Oil painting is just so relaxing!
Parallel to overseeing my exhibition (still running for one more week) I have been working on commissioned projects including this royal blue stag painting. When being asked specifically to work in one colour I automatically thought this was a slight restriction that could potentially suppress a lot of the natural character that could be captured in a wildlife painting. However I decided to take it on without reservations and find other ways to inject character. The palette I was asked to used was ‘royal blue’ which in itself could well portray the pride of a stag. I decided however to minimise the use of royal blue and begin by building darker and lighter tones of this blue until I had the basic stag. The royal blue I then added as a highlight. minimal with the idea of brightening, suggesting and ultimately setting the tone of the piece itself. I am still working on this piece and I cannot wait to see it finished, it is a personal favorite of mine and a challenge in following the guidelines.
2013 has so far been my year of experimenting with oil paints. Oil paints and myself are still very much getting to know one another. I was strictly a mixed media girl before 2013, I did not limit myself to one medium, I wanted to achieve as many effects, textures and styles within one painting as I could and mixed media is great for that. Only I was not as clued up on oils as I thought, and only from using them have I opened a lot of doors in terms of styles, application, techniques and effects. I have now fallen madly in love with oil paints and although I will always use different materials for different pieces, oils paints have become another limb for me and my work. My first worry was the stodginess.. I was dubious to hand over my painting ideas to a cakey finish, only this has been avoided in some cases with the use of white spirit. This thins down the oil paints and can give a great fluidity to …
KATY JADE DOBSON 