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Ardent Shadows

Gothic Fantasy paintings by Jemima Mantle

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acryliconcanvas

A Grain of Sand – New painting

I have just finished what was the last painting of 2014 but I thought it fitting to save it for the first post of 2015. It has been an important piece for me and the start of a new approach to my work. It was an experimentation of media, a challenge to myself and the first purely still life painting I’ve done in a very long time.

Whilst this was a chance for me to set up a real life composition to paint, I also wanted to create a perfect setting in which to display something which to me is beautiful and pure but something that many people will feel is a controversial. Please stay tuned for later posts where I will discuss the subject matter of this piece in more detail. First and foremost – I wanted to create a piece which showcased the beauty of life, all life, the beginning, the end, the oldest and most pure. Pure and raw nature.

For now, what I want to discuss is the preparation I went through for this piece. I have not put pencil to canvas for many, many years. Mainly because it muddies the pale colours but also because I found that painting outlines directly onto the canvas was a more pleasurable way of working and allowed for greater freedom and expression. For this painting I have also used canvas board – another change for me. I carefully drew the composition accurately and precisely onto the board with a standard pencil and then sealed it with a clear gesso.This seals the graphite and maintains an adhesive surface for the acrylic paints. Whilst this attributes mainly to my reflective learning and so this is not something I think I will do – I can certainly recommend the technique for anyone wanting a precisely drawn design to paint over.

A Grain of Sand
A Grain of Sand – Preparation

I will be sharing progress pictures here and on my social media pages so make sure you follow me for the full piece and related posts. Instagram: http://instagram.com/ardentshadows and Facebook: https://www.facebook.com/ArdentShadows.Art

To see a world in a grain of sand and heaven in a wild flower, hold infinity in the palms of your hand and eternity in an hour. William Blake.

The inspiration behind Black Bryony

I get asked a lot about my inspiration and where it comes from, so although the creation of a new piece is as natural and ephemeral as breathing, I thought it might be interesting to explain a little about this piece.

Following on from ‘Sense of Self’ I’ve known I wanted to do a neck corset for a while and the uncomfortable feeling of a nightmare was also something I was keen to portray. I felt that insects in the neck corset would create this emotion in the audience. An uncomfortable, uneasy feeling that there’s something creeping and crawling inside you. The exact insects to use was a much more difficult thing to decide. I originally wanted to use insects from the UK but eventually I had to change my mind and search globally for bigger and more varied insects. It was important to get bugs that were not too attractive for risk of ruining the emotive response I was looking to invoke in the audience.

Using the plant, Black Bryony, came about very differently. I was stopped in the car, parked next to a hedgerow in the countryside. From the window I noticed a beautiful plant that was winding it’s way through the hedgerow, creating beautiful shapes as it searched for places to cling to. I wanted to find out what the plant was but it took a lot of searching to find it. A waxy, heart-shaped leaved climber was the only thing I had to search for. Eventually I found Black Bryony and through my research found that it’s named after the black poisonous roots. It was instantly a keeper and something I knew was perfect for Ardent Shadows due to my interest in poisonous plants.

The colour scheme came about naturally after the concept had come together – black bryony and insects in a neck corset. I knew it was going to be largely green due to the subject and as I like to work with limited colour schemes depicting the flesh in blue tones seemed a natural choice. An accent in the complementary colour range is always a favourite of mine. I can’t explain why I chose do the hands and lips in this colour – that’s one of those little mysteries of the creative process. It just felt right.

Here are a few photos that illustrate my journey:

 

 

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