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Artist Residency Opportunity

Jul 19, 2022

How many artists would just love a big studio space, even if just for a week?

Over the last couple of years I have searched and searched around Cambridge to find a bigger space to work in, but to no avail.

I have found another solution! Emily Ball has created various artist residencies, for one week or two, at the Seawhite Studio in Partridge Green, near Brighton and in the Algarve, Spain. I have signed up for two weeks in September! I can’t wait to have two whole weeks to really focus on my new work, and little else. I am desperate to move up to a bigger scale and this will be the perfect opportunity, I am already collecting my materials and different wooden surfaces to work on.

‘Our studio residencies are limited to 6 participants (plus professional artist) which means we are able to offer generous working spaces/stations.  A residency gives you the freedom to spread out, work large, see your work together so that clearer judgements can be made as you work.’

 

I also know that it will be hard work for two weeks, and there will be highs and lows, but being in a supportive environment with other artists will be a huge bonus. I know that this time will set me up well for the Autumn and the next phase of my work. What joy! Two weeks to push on, to experiment and consolidate.

  

‘The Seawhite Studio is renowned for fostering a supportive artistic community.  This is certainly the intention with our residencies.  Working with like-minded people and celebrating the differences in each other’s work will create a motivating and positive atmosphere that is conducive to being creative. We hope the experience leads to friendships and artist-networks that continue long after the residency is over.’

   ‘Working alongside a professional artist means you can witness the changes that their work goes through. Whilst not being taught, within each day of residency there are opportunities to have valuable conversations – artist to artist – about each other’s work.’

 

There still a couple of places available !

Dates: September 5th – 9th (Monday – Friday) and/or September 12th – 16th (Monday – Friday) 2022

Cost per week:  £300.

Artists can choose to work in the studio for just one week or two.

If you are interested in coming on the Residency please email Emily first before booking so that you can discuss with her what your ambition is for the time in the space. emily@emilyball.net

 

Salvage Series – June 2022

Jun 28, 2022

Salvage Series

Lockdown gave us all more time to focus on what matters in our artwork.

I continued to push on and really look at what interested me in my chosen subject of boats and boat yards.Every day I walked to my short commute to work, down the garden path to my studio, my safe space.

Sometimes it takes a long time to find what we are really searching for in our work, and then we want more, so it never stops! Lockdown enabled me to just keep experimenting. I wanted my work to excite me – difficult in a time when were all feeling pretty upset and afraid – I got some twinkles of ‘Yes! I am on the right track,’ but generally, I just kept going.

           

I knew that my subject was connected to my childhood spent roaming free around a sailing club on the Yorkshire coast. Later, in my late twenties I also worked and lived on sailing yachts in Greece and Turkey. I felt perfectly at home on the sea, but I loved the refit at the beginning, and the layup at the end of the season just as much as the sailing itself. It is only now that I realise how important all the boat fixings were to me – the sails, ropes, covers, cleats, shackles, sheets, spinnakers and tools, and how we assembled the boats and finished them off with sanding, painting, antifouling, varnish and polish, much like a collage painting.

I loved the way each boat part connected to the next, and had to run smoothly. I also noticed how shiny gloss paint and fibreglass would lie next to the rough wood of the boat cradles and wooden jetties. The cradles and the wooden chocks would be splattered with accidental paint marks that made mini abstracts.

Abstracted Industrial ship      

Over time, I have come to realise that it is the physicality of the materials that I use that excites me, more than a visual representation of something. Gradually my boat/harbour paintings have become more abstracted, but with some recognisable parts to lead the viewer in and now this new Salvage Series moves into abstraction, with the break from boundaries and order feeling very relevant.

Paper with all its creases, folds, wrinkles and different weights and many edges will always be in my work. At the beginning of this series, I worked from observation on location, in black and white paper collage, with some small patches of colour and clear shapes. Back in my studio I reduced the shapes even more, sometimes just to 2-3 pieces and gradually these shapes started to expand out of the rectilinear, reaching out to the sides or dangling down.

      

     

I also started using different kinds of found card packaging with all its neat cut edges, working in a series of A4 pieces; these small quirky groupings of irregular pieces soon started to converse with one another in an exciting way. Paint-dipped pieces created that thick repainted look of old fishing boats, plus an innovative use of paint/papers kept my process fresh and led me to simplify more.

Through this process of inquiry, the surface that lies beneath revealed its own story. For me it is not how paint is added – in beautiful lush brushstrokes too far removed from my hand – but how it has been added in a functional way: to decorate, protect, hide blemishes, revive, mend, patch, often over many years.  It is the touch of the human hand and the accidental marks left behind from a practical fixing that play an important part. With this in mind I began to work with house paints when acrylics felt just too plastic and resistant to distressing.

     As lockdown finished, I was free to wander to my favourite boatyards, like a magpie I collected worn and painted ephemera: tiny snippets of line, offcuts of wood, sticks for stirring paint, paint tin lids and bits of gaudy plastic.I really looked at these pieces, the angle of paint on a paint stick, thick runs of paint on a discarded board, layers of colour on a paint chip, soft frayed ends of a rope, sun-bleached plastic, wind flapped fabric, each piece of jewel in its own right.

I began re-organising these fallen throwaways, my small treasures, my misshaped mishaps into new stories. As I constructed and deconstructed with paint paper and wood, more stripped back dynamic compositions revealed themselves. Each piece became cheekier and more irreverent; they jutted and spilt out, and made me smile as I abutted a flat colour with a dribbly paint stick. The square/rectangle felt too confined and bursting out felt so good, lockdown was over, I needed to expand, stretch and reach, so I began cutting up my collage and painted panels into irregular shapes. These pieces became the collage and this felt so right – all the feeling of the boat yard but no boat. Marks and edges became the subject; punchier, each kink, curve and accidental blemish accentuated and celebrated in its own right and gradually this richness of surface allowed me to leave more space in my compositions.

             I feel that I am at an exciting new stage of my collage paintings that is rooted in my previous work.

 

 

 

 

 

ING Discerning Eye Exhibition

Oct 27, 2021

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

I am really pleased to have two small paintings selected for the 2021 ING Discerning Eye Exhibition at The Mall Galleries, London. 11-21 November. They received close to 7,500 entries from artists around the UK ‘the quantity and quality of submissions was outstanding, and yours caught the eye of our selectors’ I like to think that they caught the eye of Russell Tovey  🙂

Painted in the winter of lockdown. Framed 40 x 40 cm  £430

A series of six small studies

Mar 2, 2021

This is four from a series of six small collage paintings (24 x 18 cm ) framed 35 x 29 cm. I really enjoyed working with a limited palette in the frosty winter and early spring days here in the UK.

You can see all six at Little Buckland Gallery

Urban marks

Jan 9, 2021

At last, I feel that I am getting my mark making to speak back to me. Phew! This has taken quite a few weeks of searching and pushing. It is so hard, at the moment, to work out how we feel, and if is due to the outside world, or the wrong colour paint!

For many days my work felt heavy and laboured, I was putting in many hours, but I wasn’t getting anything back; no excitement, no buzz. Working on a big scale wasn’t helping either, there was a fair bit of bending, stretching and wrestling with unstretched canvas in a small space. So this week I went back to small, 8 inch square pieces on paper, with a limited palette. Oh, a touch of happiness came through! I was in the zone, I could feel the subject/theme.

The urban coastline is always there.

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