I have been so busy with submitting to shows and with helping at the Affordable Art Fair (AAF) and Art In Woodstock that October has almost slipped by. First I submitted to the Bath Prize. Then an Oxford Hospital decided that they liked a pastel of mine enough to buy it and wanted to look at more. Then we had the AAF, closely followed by Art In Woodstock (where I have been the resident street painter). I am submitting to the ROI open show tomorrow. In between all those I have actually managed to get some painting done - 19 new small panels and about 20 'revisions'. Mid-month I had a day's painting with Michael Worthington at Boars Hill (where he showed me the monument to the last wild boar killed in England) and Bernwood Forest. Then I managed to slip out during the AAF to sketch in Battersea Park. Finally I have managed 7 panels in Woodstock. I don't think there is a work of staggering genius among these but it was important to keep painting.
Maddy liked this 30-minute sketch of birch trees in the final light of an Autumn day:
I was quite pleased with the Battersea Park Pagoda:
Woodstock was a difficult location - Half Term - cars and people all over the place. Michael W painted with me the first day. First we tried the town:
Then we escaped to Blenheim Park:
I had to 'invigilate' in the Methodist Church where there was a very striking installation by Diana Forster and string hats by Sharon ('Hattie') Hayes. As I had 2 hours to kill I amused myself with the string-top-hat lady:
These roofers were interesting too:
On my last morning I caught 'Man and Dog' in a tiny panel:
Edges a bit hard maybe but I was in a hurry as usual! I only got really wet once - on the final afternoon. I seemed to be an object of curiosity - a outdoor painter painting outdoors. How does one begin to explain to people who suggest taking photographs? When I was painting in the rain a passer-by said 'it must be difficult'. I replied that the suffering was important. He seemed satisfied!