Saturday, 6 November 2010


This week I've started a new painting on the rocky foreshore at Osmington.

Rocks are complex, so depicting them with so many forms jutting in the foreground and describing the space leading into the background – takes a certain energy and commitment that you have to be prepared to see through.

I feel the intense drawing experience of working with so many life models during Breast Cancer LIFE has helped me to take on the challenge of painting scenes such as this with a new perspective.

The photograph which shows the start to the painting is actually quite unusual in that on this occasion I've adopted an approach rather different from my usual one.

Normally I will give equal attention in the early stages to all areas of the canvas, relating the placing of shapes to one another in a very balanced way.

With this painting I was keen to spend longer fixing in place the marks in the foreground, which dominates most of the canvas. As this took a long time to work out it made sense to invest energy getting this exactly right before relating it to the more distant view of the bay.


The Wessex Reiver said...

I love these paintings in the field and the fact you photograph your representation of the scene. Very inspiring.

Harriet Barber said...

Thank you. I agree there is something very interesting about seeing the paintings in the landscape and view in which they were painted.
One thing that stands out is how photographs from my iPhone don't pick up the resonance, and all the rich varieties of colour that I can see immediately in front of me. Any painter relying or working from photographs is missing all that information.