These new works emerge, so close to completion and yet still some layers to go. I realize that looking at my work is such an integral part of my process. I look at them for probably longer than I spend actually applying the paint. Really, the very final part is putting brush or tool to canvas.

These works have been years in the creation, starting back in 2010 when I took photographs of some foliage at the side of the street that made me stop in my tracks. Since then, the idea has percolated, fermented, evolved through the months and years to bring me to today. Although it takes months, painting them really is just the tip of a very large iceberg.

In fact, I can trace the beginnings of these back even further without stretching too much. It reminds me that one of the greatest, or perhaps the greatest, thing about living life as an artist is that we get to truly understand and express ourselves through our slow and rigoros  explorations. It may not be something we are aware of everyday with the usual pressures of life weighing on us, as it does on everyone. Most careers or jobs have rewards that are intangible; for artists, I think the rewards is the time to explore and understand.

I will look at these tomorrow, for a long time, as it is important to be able to really see them, as it so easy to let the paint control the artist, rather than vice versa. I’ve more looking to do with these, and a little more application of paint too.

I can’t wait to see them finished.

 

 

 

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This is an new oil on canvas commission for a lobbyists office in Washington, DC. Oh, the conversations this painting might overhear…!

 

Secunda Primavera

60″ x 36″ x 2.5″ oil on canvas

 

These paintings are from my new series, as yet untitled. These continue to explore the idea of abstraction from sunlight, and I follow a pre-defined process using a camera to create them.

Each resulting oil painting is photographed, and this photograph becomes part of the process of creating the next oil painting. This process leads to my being able to explore the places where digital painting and pigment painting overlap, and where there is a clear distinction. As well as technical discoveries, I am also able to layer in my larger exploration of memory and perception, and the effect and implications of storage – organic or digital – on our memories and narratives.

These are both 36″ x 36″ x 2.5″ oil on hand-stretched canvas. Please email if you would like further photographs or information at alison@alisonjardine.com.

Better yet, visit them in person in my studio in Deep Ellum! More paintings from this series are in the works….

 

I have been creating small posters to put up around the building in which my studio is located. It is large and rambling, and I want to make sure people can find me. Of course, the ones I’ve put up there have different instructions on them (as I would presume people already IN the building know that they are there), such as “Up the stairs, turn left…” Clearly, I am a marketing guru.

Anyway, I decided to alter it slightly and post it here, so you can see what I am up to… the colors are a little funky and neon on the screen here, which they are NOT in real life, but its still pretty.

I’ll be in my studio in Deep Ellum painting on Saturday, 1st of September (4pm till 7.30 or 8pm), and will have an open door to visitors!

Just message me at alison@alisonjardine.com if you want to stop by, and I’ll let you in the front door. There’ll  be some chilled refreshments and lots of painting!

Hope to see you then,

Alison

Studio 3W3, The Continental Gin Building, 3309 Elm St., Deep Ellum, Dallas, TX.

alison@alisonjardine.com

Today was the first day that I had uninterrupted, normal work day in my new studio. And it was just lovely. So peaceful and focussed.
Here are some updated shots of my space, which are in the Continental Gin Studios, Elm St, Deep Ellum, Dallas. The building is a huge former cotton engine production factory (nothing to do with the popular beverage of the same name), and is well over 100 years old. It is full of charm and odd strange bits of fixtures and fittings that are a thread through time to its industrial past.

 

 

More progress today, with my two fantastic helpers! We painted two of the large walls brilliant white ~ the height of them is really emphasised now, as are the lovely old wood rafters and joists in the ceiling.

After much debate, we decided to leave the wall that is already painted black ~ it’s a seductively dramatic counterpoint to the old red brick, and white walls. Plus, everyone who visited commented on how nice my artwork looks against the black.

I am considering making it midnight blue instead, to soften it a little. We’ll see.

For now, we are done – tomorrow, I start painting there. I want to keep it clutter free, clear and clean, and as a space that promotes a calm focus.

Considering that every other studio I’ve visited in the Gin building (where the artist has been there more than one year) are stuffed full of towers of rugs, and boards, and various bric-a-brac, this may be wishful thinking. But I’ll try…

On Saturday, I’m moving in to my new studio space in Deep Ellum, Dallas.

This studio is in a a building that was formerly the Continental Gin warehouse and distillery, and is a an old brick and exposed beam architecturally protected structure. The building is now solely art studios, so I am looking forward to working in a space so saturated with the concentrated energy of all those artists and designers in one place!

If you are ever in Dallas, pop in and say hi.

Continental Gin Studios, 3909 Elm Street, Deep Ellum, Dallas.