JANUARY 2006
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Richard has stretched a big new canvas for me and with the impetus of the New Year's beginning and the Day at the Races exhibition so imminent, I start as I intend to go on, tackling the new canvas. I haven't yet managed to borrow back a large racing work so will paint a new centre piece for the show.
It seems strange to think it's Monday and a Bank Holiday. It always gives me an intense and perverse sense satisfaction to be in the studio at work and creating on a day when others are holidaying; it's as if I'm stealing time.
The builders aren't back at work yet so we are enjoying the tranquility of having all the space to ourselves; with out the noise; it makes it very conducive to work.
It's a sunny day and good light filters into the studio so R takes a few photographs of me at work for possible inclusion in the catalogues for both exhibitions. The Morohashi Museum of Modern Art catalogue will be going to print at almost the same time as Day at the Races at Cheltenham Art Gallery & Museum.
Jane and David come to dinner.
Don't allow myself to stop or leave the studio to go over to the house until the evening; it pays off as with the concentrated effort I manage to fill most of the new canvas with colour and movement. Richard is surprised when he brings the supper over, saying "that's the way to do it", mimicking Mr Punch.
Things are hotting up with preparations for the Day at the Races exhibition. Discussions with Museum about Private View times etc.
Letter from Chenderit school confirming the exhibition dates for the Michael Heseltine Gallery exhibition in November.
Day spent dividing energies between the three big canvases and then The Cafe in the evening.
Busy in the studio, early evening I wonder why my Mum hasn't walked round for a visit during the day. She's developed a cold caught from one of the other ladies on a coach outing on Wednesday for another Christmas lunch.
Disappointed to find that the paint on the big new canvas looks rather shallow still and the gleaming white gesso on the top of the frame distracts. But by 3 am I've managed to fill the top with lots of little figures all with mouths open like tiny Edvard Munchs in full scream as in their frenzy they urge on their favoured beast.
E mail from Loughran thanking me for the Angel Companion book and kindly saying that she's always liked The Guardian Angel painting that is reproduced on page 22; I painted it in 1989 when both children were away independently on holiday. My anxiety made me create a guardian angel who in my mind's eye watched over them. I wonder if similar reasons make Loughran paint her beautiful single-winged angels.
I'm keeping my head down and not leaving the studio much at all, not wanting to break the concentration. But it is paying off as the momentum built up I noticed the big new canvas looked full of hope.
Call from Miranda at the Brian Sinfield Gallery asking if we can send an image to the gallery for forwarding to an enquirer.
E mail from Eiji at the Morohashi Museum of Modern Art asking if we have a transparency of the Oval Circus and Bird Table together as they would like to use it in publicity material. Also that they will be pleased to have Playing for Time rather than the interior we had originally planned to lend, but which sold shortly after sending details of it.
Concentrated efforts on the two large canvases today.
Nice call from Peter Hogg who says that he and Marylyn will be pleased to loan their corrugated painting 'The One that got Away" to the Museum for Day at the Races, which is very helpful.
Call from friend and neighbour Rose to ask if I know there is a reproduction of one of my paintings in an article in the Echo about forthcoming exhibitions, including A Day at the Races, at the Museum. Much furious activity here in the studio and also over the road where Richard is collating images and text for both the Cheltenham and Japan catalogues.
Terrible tragedy in Saudi Arabia where 345 pilgrims on the Hajj were trampled to death at the stoning of the pillars. So sad as there were also women and children amongst them. 2 - 3 million Muslims from all over the world travel to Makkah and Medina in Saudi Arabia each year on the Hajj, which must be the biggest pilgrimage in the world. This is the Fifth Pillar of Islam which requires all Muslims who are physically able and can afford it, to visit Makkah at least once in their lifetime on specified days and to perform symbolic rituals.
Work on the Jeddah street scene and more to the huge horse painting.