Claire de Mortimer Painting

I’ve made a Facebook page just for my paintings.

A like, follow and share will be greatly appreciated. Thank you.

https://www.facebook.com/ClairedeMortimerPainting/

IMG_0998 (1).jpg

On Self Promotion. How do you do it?

On Self Promotion.

I was thinking about a post that I put up on Linkedin yesterday. Re-reading it today, it sounds blunt and lacks any poetry.

So I want to improve how I promote myself. How do you do? I went to a seminar given by Faye Smith at Sheffield Hallam University in Marketing and felt awkward talking about what I’ve accomplished and where my work is now shown. I’ve had similar discussion with Lesley Black. Is it a matter of practise? Or something else?

How do you do it?Christmas card 2016 GSA choir

 

Magister Litterarum, Merit. Glasgow School of Art.

Yesterday was the closing of the show. Some dear friends came to make the closing of the M.Litt Graduate degree show, Glasgow School of Art, 2016 special. Alice and Allan brought purple plastic Martini glasses and a bottle of bubbly. We toasted the paintings, the friends, the institution, the building and the show as I turned off the lights as we talked out.

Today is results day!

I passed with Merit. MERIT from Glasgow School of Art!

 

Detail. ‘That river is as aged as dark port’.

Metaphor as Material. Material as Metaphor. Part II.

In Part I of ‘Metaphor as Material. Material as Metaphor’ I’ve talked about choosing the material of the painting to be the metaphor of the subject matter. In Part I  was using watercolour, ink and gouache on paper with hand made native wood frames to explore the temporally of trees. Not only in the seasons, but within the geopolitics of  Scotland and the early formation of the United Kingdom.

Here, in Part II of ”Metaphor as Material. Material as Metaphor’ I’ve taken that same idea that the materials and the process of making the paintings are in keeping with topic. The topic here is still landscape and Scotland, but on a bigger scale. The large employers in Argyll, Scotland are now the multi-national giants. The land is owned by Trusts and the Hedge funds. Such is the result that no one individual is responsible for the land or for the people who have lived on the land for centuries. As I write this, I am aware of the seduction that making money has, of the challenges that it presents to ones authenticity and being in the world. I  pay into a UK Civil Service pension but have no idea what they money is invested in and how they in turn treat landscapes. I am minded of the anthropologist Michael Taussig essay ‘ The Sun gives without receiving’ in his book
Walter Benjamin’s Grave. (Chicago Press, 2006.)  In this essay the tale of awesomely scaled consumeristic enterprise is endowed with the ability to destroy life as well as bestow riches. Taussig reminds us that it is a materialist knowledge that offers a crucial alternative to the increasingly abstract, globalized, homogenized, and digitized world we inhabit.

For these painting I’ve worked on a larger scale and with oil paint on aluminium. What better way to express the notions of the multinational than with oil. I used the same process of making the paintings that is analogous to the formation of landscapes. The paintings are one metre squared. The aluminium has a beautiful fine grain and a subtle iridescence. They are seductive and sit somewhere between abstract and expressionist landscape, but take the form of figurative painting.

I have used the same pigments as in Part I ‘Metaphor as Material. Material as Metaphor’ on paper and translated the idea into oil paint. These are turquoise, ultramarine, London red, lemon yellow. I have substituted the watercolour lamp black for oil Madder. Oil paint uses the same chemical pigments to watercolour but oil uses different resin and mediums to suspend the colours. The colours and mediums form sedimentary layers and interact with each other and the aluminium to become something other than what they started as.

This slideshow requires JavaScript.

A Year in 1 min and 26 sec.

This shows my progression over the year of this Masters at Glasgow School of Art in Painting.

I know that as a friend I have been preoccupied, not in contact so much and probably a bit obsessed: Sorry. And, thank you for encouraging and supporting me.

 

Self Portrait

Taken with the help of the admin office at the Tontine building, Glasgow school of art temporary home after the fire.

 

img_1009

Grad Degree show prep

http://www.gsa.ac.uk/life/gsa-events/events/g/graduate-degree-show-2016/?source=future