By intensely focusing on the landscape throughout this year, we’ve observed continuous changes. In the process, we become a part of the ebb & flow.
We invite you to join in our State of Flow and notice features of landscape often ignored.
For all enquiries: email Veronika Mckerrell or call 07543 084 387
Flow: - Currents of wind, water and waves. Undercurrents of time, thoughts and dreams.
Out in the landscape, my mind flows between: -
Being in a particular time and place, and belonging to different places through time.
Choosing a motif to paint from the landscape happens when there is a resonance between the now and my imagination.
Once I’ve captured an image by sketch or photo, I return to the same motif many times. Collage adds another layer connecting the now to my imagination or dream or art images. The final process was to play with various acrylic textures and use oil to develop the final image. The sepia colours reference old photos slightly worn by various viewers over time.
Born in Derbyshire, I moved to Scotland 50 years ago to study Architecture at Edinburgh College of Art. Now retired I have returned to live in Edinburgh following 30 years living and working in the Scottish Borders. I have always taken a keen interest in all forms of Art, and although a keen sketcher and photographer have never painted seriously before. The past year on the LSA Landscape Course has been a steep learning curve which I have thoroughly enjoyed and hope to to carry on with the Course next year.
I have been lucky enough to have lived in Traquair near Peebles for almost 30 years. It is a beautiful area that I got to know intimately, with its splendid hills and the valleys of the River Tweed and its tributaries. These three pictures are part of a collection of paintings in which I have tried to capture the gentle shapes and ever changing textures and colours of this region throughout the year.
I live in the Scottish Borders which provides unlimited inspiration for observing landscapes. Retiring 4 years ago presented an opportunity to practice art again, starting with a LSA Summer course. I’ve been coming here ever since! Now aiming to continue with the Landscape course next year.
For me, inspiration comes from each individual’s interpretation of our natural world and from nature itself.
My motivation as a landscape painter is often a response to the vibrancy and contrast between light and dark. The areas where edges meet is where the visual potency resides. The transition between light and dark enlivens the art and captures a moment in time.
Jennifer grew up on a farm amongst the rolling hills of the Scottish Borders and now lives in Coldingham on the East Coast. Having foolishly not taken up the offer of a place at ECA after school, she is, at last, taking the opportunity for some formal art training at LSA.
I am always inspired by nature: by its seasonal changes and the routines and traditions which result from these changes. These untamed, ever changing elements of the land, sea and sky are a constant source of creativity and inspiration.
In my paintings I am trying to create a harmonious whole of colour and shape. This year my focus has been on buildings in landscape because I like the structure they give, and the possibilities offered by their variety of shapes.
Brought up on a farm in the Pennines, I now live in Edinburgh. Since retiring from a career in people development, I have taken a variety of art courses at the City Lit in London and at Leith School of Art.
I am a member of a women’s group of artists called Women with Artitude, who are based in and around Edinburgh.
I initially trained as a Landscape Architect at Edinburgh College of Art. I then stayed at home in Glasgow to look after my children, and it was during this period that I rediscovered my love of painting. I hope to be able to continue experimenting, and pushing my boundaries, to see what will happen to my new work!
I am an experimental painter, who likes working mainly in oils, with brushes, knives, rags, sponges, netting etc - in fact whatever is at hand! I seem to be mostly attracted to cityscapes, and to the intricate patterns of the buildings next to each other.
During Spring 2020 there was fear in the air culminating in lockdown. As I walked around Edinburgh I looked for beauty and hope. In my final piece of the series, the crow is crushed/framed between the railing and the window, constricted and yet outside and free. There is the railing, almost like prison bars, contrasted with the sky reflected in the window suggesting the view of freedom. There are spiritual messages of hope in the very fabric of the building but is it hidden and out of view or indeed within the very structure of life? The crow is preening himself teaching us to tend to ourselves during periods of grief.