Avebury Manor: 2023-2024
When I contacted Avebury Manor suggesting an Artist in Residence project, it wasn’t something they’d done before. We therefore agreed a trial period for the first year, which went well for both sides. It was a new experience for me as well, drawing so publicly and engaging with visitors whilst doing so. I enjoyed the challenge of creating art when being observed and engaging in conversation.
As an outcome to leave them with I have recently completed a painting which will be installed in the potting shed at the back of the manor.
My art has explored the architecture, the beautiful setting within the gardens, and briefly the interiors. When the weather became colder in the I drew in the house a few times. Sadly the flood in early 2024 has seen the manor closed to this day. I therefore returned to painting in the gardens which I already knew I enjoyed doing - and hopefully gave the public something positive in the abscence of visits inside the manor.
On my first visits to Avebury I sketched in various locations around the garden, building up a familiarity with the architecture and layout. I am often interested in the rooftops and landmarks, as points that orientate me and help me build a mental map. The roof of the stable block Alexander Keiller Museum featured repeatedly
I painted extensively in the Monk’s Garden, which changed immensely with the seasons. In summer the alliums were star-like seedheads, and the garden was full with bright flowers in jewel like colours. The height in summer disguises the architectural layout.
My time inside the manor began sketching the detailed wooden panelled Alexander Keiller Drawing room. The warmth of the wood set a backdrop for the furnishings, and examples of 1920s decor made it feel very cosy.
I then sketched the staff as they installed the elaborate Christmas decorations, on the theme of 12 days of Christmas. These were beautifully handmade by a team of volunteers who I spent the day with. Flowers used were saved from the garden's autumn harvest.
To keep me going in the winter, I took photos of the gardens on each visit. Working from these at home, I tried to sketch and paint with the same freshness of drawing on location.
In the winter between the two years, I spent time drawing seedheads from Avebury photos and from my garden. I have noticed my work has become more textural as a result of this time. I notice more detail, particularly in drawing the changing seasons, the decay of winter and the fresh growth of Spring. The way that I draw nature has become more definite, with individual plants being recognisable.
In the second year of my residency, I began painting outside in oils. This was a new experience for me, and initially practical challenges to overcome in transporting a palette of paint to the venue – and then to carry a wet painting home!
To develop my art practice, painting outside is the best move I’ve taken. It has given me an enhanced appreciation of the colours found in nature, and how to mix these in paint. How to show the effect of weather, tousling wind in the trees, scudding clouds, dappled sunlight. I still paint in bright colours, but I find that I also use more natural colours more confidently.
I am always on the lookout for the views that would not be in the guidebooks, but still hold interest. For example, in the gardens of Avebury Manor, there are several ‘rooms’, with entrances between them, whether gateways or gaps in a hedge. These give a view of what is beyond and be used to frame a sketch or create intrigue.
I still have a few plans to create work based on Avebury, using my sketches created in the past few years.
