One of the delights of painting with oils is the meandering journey that lets you experiment and fail. The small wins are precious and deliver joy. I have always had a buzz from learning, so painting feeds that in a quiet, understated way that keeps me curious. It's not just the activity that is so absorbing, it transports you to another world, it is also the thinking. The thinking requires not just a collective memory bank of skills, but an enquiring mind and willingness to take risks - what if I...?  It is a constant problem solving exercise and the search for resolutions can be taxing.  Even after all these years, there are conversations in my head about risk taking and rising to the challenge, underpinned by the "You CAN do this" mantra.

                                         

                                               

And what happens when the result is not even satisfactory? The task of 'making it right' can form a loop that becomes a bottomless rabbit hole of intense pushing. One is often unaware that this is taking over.  Step away, give both time and distance to the issue. Then refreshed, this could be hours or weeks later, judge it anew and matters have often shifted. Now that troublesome area is actually quite good, whilst the bit that you were pleased with before is alarmingly wrong!

With oils, time is your friend. I have painted with all the different media over the years - experimenting, playing and analysing each material and technique for its foibles. Each media has its own attractions and limits and finding one that connects is key to building a deep relationship. I first tried oil painting at an evening class I attended aged 19 - I timidly brushed the paint with little strokes from a little brush. At art college, oils were never discussed, whilst the more instantaneous acrylic paint was favoured. I returned to oils years later as my fascination with building texture and form on a 2D plane became a focus. A palette knife and thick oil paint now provide endless possibilities and happiness. But with oils, time is also not your friend if you are impatient. Impasto painting demands lengthy drying times which can be frustrating when the next layer of engagement is beckoning. I have learnt many times that muddiness awaits if you revisit a wet painting too soon. All that squishiness is delicious, but be aware of the trap of impatience.

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Letting go is one of the hardest things. A painting that just isn't working, but has delightful elements is a conundrum. Should I continue or just start again? When to push through and when to move on, is still a dilemma. It is at this point I ask myself "What is the value of continuing?" Obviously, the answer should inform the decision, but often there is a niggle remaining. Is that the vagaries of the creative brain or something else?  Ultimately, deciding is a choice only you can make. I have found that what one may consider helpful opinions from others, usually are most unhelpful.  Yes others views have value, but its the artist that must exercise omnipotence over their work. After all, a painting is an artist's statement of self expression.

                                   

It is always a pleasure when a client decides to commission an artwork. Some clients have a very clear idea of their requirements, whilst others need assistance.  I have spent over 30 years of working to commission and enjoy deciphering what is really desired. This blog post is to simply explain the process, so you know what to expect.

Here's a list of things to consider when considering commissioning an artwork:

1. Budget - it is helpful to have some idea of how much you want to spend at the start. Realistically, this can change as the commission is discussed and options are taken. Don't be concerned about raising financial issues - it's a discussion, not a contract at this stage.

2. Schedule - is there a specific date that you need the artwork for eg. a birthday/anniversary etc. or is just as soon as possible?

3. Subject matter and style of execution. 

4. Materials

5. Size - if you're not sure what size would work best, then experiment with paper cut to size.

6. Location  - where in a room is the best place to showcase the artwork?

7. Light sources - is there natural light, is the work likely to fade, do I need specialist lighting etc?

After all the points above have been discussed - a plan is agreed. 

It is important to have a simple agreement drawn up to make the process straightforward and transparent.  Below is a summary of the process.

The basic commissioning process

1. We agree a brief, cost and timeline.

2. A non-returnable deposit is required to schedule the work - usually 50%.

3. The materials are ordered.

4. The painting/drawing is researched and executed.

5. The finished work is shown to you for feedback.  Any alterations are made. The painting/drawing/plate or photo of the revised final picture is shown to you.

6. The work is then framed if relevant.

7.  On completion, we will agree a convenient collection date and location.

8.  The balance of the fee is required at completion.

Commissions vary widely in size and content - a recent one was quite specific, so I was delighted when the client emailed this to me,

"It's beautiful. I love the light on the horizon and the movement in the waves - you have captured exactly what I wanted but was having difficulty articulating."

Seascape - 'The Best of Days' encaustic painting for client Dr. W.

If you would like to discuss commissioning a piece of art,

then please get in touch.

Being Home Collection

A Collection of Original Oil Paintings by Jac Scott.

An antidote to fast living.

The domestic space has long held a fascination with many artists. Whatever the medium, to transpose the enigmatic and the mundane of home, is an enduring focus. Often drawing our attention to the small and overlooked elements, these still life works form narratives on our way of living.

Here Scott is preoccupied with the celebration of the joy of home comforts and the reflection of her feelings that these simple objects bring. By painting atmospheric vignettes, she focusses our gaze on a few items that capture the essence of the subject.

Her own country home forms the canvas for this unique collection with her love of old crockery, antique books and flowers emanating throughout the paintings. The casual, contemporary format of the compositions, the painterly style of the brushwork and the saturated colour palette, create an inviting window into the artist's world.

"I want to create pictures that are colour baths to wallow in and to soak up the warmth. The cosy style should feel like a wall-based hug".

"I want to enjoy wobbly towers of pretty vintage teacups, rows of mis-matched tea plates, (maybe a butterfly has landed on one?) clusters of quirky old tea and coffee pots, worn squashy sofas, and stacks of well-read books."

The Home Collection is an evolving body of work, so expect nuances and surprises along the way.