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Fowey River panorama with Village Hall studio bottom-left

 

Beautiful, unspoilt Polruan was our location for the latest 'Freedom in Painting' course in Cornwall. 

Subject matter was not hard to find: the spectacular diamond-shaped panorama of the busy River Fowey, the intimacy of the small working boatyard and the framed glimpses of river between buildings were the catalyst for the many strong paintings made during the five days. 

 

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The course began with demonstrations followed by three group exercises designed to enter painting three different ways: through colour & shape, through mark-making, and after a drawing session on location, through abstraction and extreme reduction.  Building on this, from this point on it was up to the artists to explore the relationship between line and colour and decide how much figuration/information their paintings needed or how 'abstract' or 'figurative' they wished their paintings to be.

All nonsense of course to have these labels, but the aim of the course, through the exercises, the response to the landscape, the demonstations, dialogue and a creative environment was for each artist to aquire more knowledge and ideas about painting and its possibilities, hopefully creating a desired shift in their own practice.

And to have a couple of pieces to hang on the wall!

 

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GALLERY

 

 

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TESTIMONIALS

 'To learn from someone who is passionate about art was fab    SUE FRAY

 'A brilliant course. It fulfilled all my goals of producing an abstract painting and learning how to loosen up my current way of working'   ANITA BONE

'Ashley keeps us on point and spends time to consider and suggest without being emphatic.Great!  CAROL HAYSLIP

'Thanks for your dedication and serious honesty'  GERALDINE FRANKLIN

 

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'Polruan'  25x35cms      ASHLEY HANSON

 

 

City of Glass 9 Fiction and Fact 120x200cms'City of Glass 9 - (Fiction & Fact)'  120x200cms

 

As the 'City of Glass' series nears completion - there is a final idea to explore - and after a time of reflection, I would like to announce, in advance, a new series '20 Books=20 Paintings' which I aim to complete by 1 September 2018. A year to find a gallery to show the series as a coherent whole. Materials are ordered: each painting will be 45x70cms.

In a shift from 'City of Glass', each of the twenty paintings will be sourced from a different novel, whose identity will remain a secret. If the viewer wishes, there will be clues in the paint and if you know my tastes....

Each of the pieces will be in the 'book-format', ie two canvases joined together, referencing both the genre and the painting as 'object'. This was a favoured format in City of Glass; see 'Fiction & Fact' above and the paintings below. And of course this years 'WestSideStory' and 'EastSideStory'.

In paralell, there will be a continuation of work inspired by the sea, the shapes and imagery of harbour-towns, the sensations of light, weather and colour. This is a lifelong series. As a discipline, I think I'll continue with the idea of a block of colour in the bottom left corner that links 'The Sea' and 'Crane (Polruan)' below, which establishes and controls the space.

 

cranethe seacrop'The Sea'   70x70cms                                                                                                                            'Crane (Polruan)'  40x30cms

 

 

City of Glass 10 Stillman Stillman 120x200cms'City of Glass 10 - (StillmanStillman)'  120x200cms

 

 

Diptych City of Glass 5 and 4'City of Glass 5 - (Truthville,N.Y.) & City of Glass 4 - (Hope Falls, hope falls...)'

 

 

City of Glass 11 StillmanStillman 80x120cms'City of Glass 11 - (StillmanStillman)'

 

 

City of Glass 32 The Apartment 70x100cms'City of Glass 32 - (The Apartment)'   70x100cms

 

Hanson Ashley THE CENTRAL PARK DIPTYCH City of Glass 61 WestSideStory City of Glass 62 EastSideStory Copy

 

PAIRS/OPPOSITES: West-Side/East-Side...sensation and context...information and imagination...'map-truth' and 'painting-truth'...natural and the man-made landscape...male/female..

 

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City of Glass 62 - (WestSideStory)  40x60cms

 

SAT 17 JUNE

A sad day and a good day - the end of Open Studios and the resolution of my painting. An interesting day: an interview with Ali Day, picking my brains about the how and why of my practice for her forthcoming book about contemporary Cornish painters. One of her questions was about the importance of titles for paintings: I've changed my mind several times about the titles for this piece (and COG61)  but I've gone for the WestSideStory and all the baggage that goes with it, but I like the link to the book-format of the paintings and to the novel.*

Conversations  today: an American couple talking about the new work, joining the debate about City of Glass 61 & 62 as a pair and how wide the gap between them should be....a comment from another artist about this piece '...making New York beautiful, moving away from the ugly, drooping willie of Manhattan' (!) 

Back to the painting: saturated colour, working in density and proportion. The dominant verticality/stripes is disrupted but more visually satisfying because of it. The backward step with the green at the end of yesterdays session forced me to look again at the purple. What is detail? It is what happens at the end of a painting to bring focus and refinement and difference and added complexity and above all, clarity. The addition of snaking Broadway helps the painting a lot - the curve of Riverside Drive no longer stark and isolated. A small area of heavier, knifed purples to break up the flatness... a pattern of 'hovering' green printed city blocks... a new yellow glow on the extreme right ... an almost hidden long 'banjo-pier' shaped mark, revealed again by scrubbing away , now contributing....a long central horizontal, coming forward, cutting the space, pulling the two sides together...lines/marks with beauty and precision, formal necessity and context...triple whammy...the streets where Stillman walks, the boundaries/borders of 110thSt, Riverside Park, 72ndSt and Amsterdam Ave.

With the twin purple angled piers there are possibilities of the illusion of a receding space, the New York canyon thing again, the idea reinforced by cooler colours 'beyond'. The view through buildings...are we getting closer to depicting Quinn's observation post in the alley, watching the entrance to the apartment on E69thSt? 

 

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In the studio

 

FRI 16 JUNE

Still have doubts (below )- the left panel seems more successful, the right almost decorative and too linear, the angled purple piers cancelled out by the twin paralell lines to the right.  I've been putting in detail/information/references to the story all day to find out what they do to the painting and whether the painting needs them. Feels like there needs to be a further paring down. Tried a green at the end of the day, making a connection with 'EastSide' which didn't work, Maybe it's too much of a fixation, trying to make paintings work as a pair.

 

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Friday

 

 

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* The New York Trilogy' by Paul Auster

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City of Glass 61 - (EastSideStory)  40x60cms

 

THURS 15 JUNE p.m.

Done - the big move was made this morning. An extension of the horizontals on the left and repainting between the lines to bring more precision. A new green line coming up from bottom centre and a bit of colour tuning and tidying up. Colour proportions sublime...a balance beween the small coloured rectangles on the left and the ripped paint on the right. Drips that could be avenues. A painting from a story that has its own story and it's own language. It's a book that doesn't close - it's a painting.

THURS 15 JUNE a.m.

It's happening- the two sides closer together..a Cerulean Blue and Sennelier Mineral Violet mix- the edge of blue- poured. smeared, scraped and cut...

 

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WED 14 JUNE

I seem to have spent more time thinking than doing over the past couple of days with this pair of 'open/book' paintings, a direct reference to the source for the series.* In this piece, the idea is to integrate the grid of the book (the ruled lines of Quinn's notebook) with the grid of the streets of the Upper East Side. The other painting will be the streets of the Upper West Side, the two locations, of course, significant in Paul Auster's story. In both paintings, the horizontals- the streets and ruled-lines-will be prominent, which is starting to happen in the top-left of the painting above, where Central Park is defined by the absence of verticals. Embedded in the grid is the route of Quinn's journey home when he finally runs out of money and has to abandon his surveillance of the apartment on E69th St. All a bit raw and clunky at the moment but I like the way the curve straddles the canvas divide. Is it a painting?/is it a map?/ is it a book? I can see the right-side covered with a sheet of beautiful pale-blue tomorrow, leaving a trace of the line of the curve, and the extended horizontal lines cutting through.

 An earlier idea was to have Central Park as the negative space between the canvases...(below)

 

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*'City of Glass', the first story in 'The New York Trilogy'