6th January 2017
Light through the pines ( http://hendersonsmith.co.uk/light_through_the_pines.html ) came from the sensation of being in the darkness of this woodland whilst aware of what lies beyond. A tantalising glimpse of cool, bright colours hints at a spaciousness that promises to relieve the closed-in sensation under the foliage of these dense pines. Could it be that this image resonated for me with the indomitable optimism that I cling on to in these dark times?
6th January 2017
It’s in late December, in the northern hemisphere at least, that the anatomy of trees stands revealed. With many, the sycamore and chestnut for example, it’s the skeleton that seems exposed but with an oak I always have a sense of the energy expressed by its muscles and tendons.
Winter oak ( http://hendersonsmith.co.uk/winter_oak.html ) was developed from studying an example of this species growing out of a nearby field boundary here in Mid Cornwall on a crisp December day recently. Cold sky-blues tell a truer tale than do the warm afternoon sunlight hues that bathe these branches, glowing that way only because the sun’s rays in late December come in at such a low angle, close to the south western horizon.
1st January 2017
I’ve arrived at the decision to make 2017 the year of my final Lafrowda Festival Benefit Painting Auction. My reason for this is that a new tradition here in St Columb Major is being launched and I want to support it in a similar way. More than three years after our move here from St Just, home of the Lafrowda Festival, my wife Gabrielle and I are now involved in launching the Our Town St Columb Major Arts and Heritage Project ( https://www.facebook.com/ourtownstcolumb/?view_public_for=150213532127194 ) that aims to support cultural regeneration in this central Cornish community. The project’s first festival is due to take place in August 2017.
This means that the metre square Mad Aviators at Lafrowda ( http://hendersonsmith.co.uk/mad_aviators_at_lafrowda.html ) painting that I made following the inspiration of the July 2016 event in St Just will very probably be the last of that series. Starting in 2002, there have been fourteen of these Lafrowda canvases emerging from my studio. You can see them all in the collection of ‘thumbnail’ picture links below the ‘virtual tour’ on the Ten Years of Lafrowda Paintings page of my website ( http://hendersonsmith.co.uk/PanacrossTenYearsofLafrowdaPaintingsexhibition.html ).
That virtual tour itself records the exhibition that the Lafrowda Festival organisers asked me to put on at Cape Cornwall School in St Just in 2012. I subsequently added four more to the collection and each July since our move in 2013 has seen me back in St Just to soak up the excitement of Lafrowda once again. I’m so pleased that other artists still based in St Just have now started to do something similar for Lafrowda and I very much hope that the tradition of supporting that festival will long continue in this way without me. Incidentally, prints of all those earlier Lafrowda paintings can be purchased by following relevant links on their image pages on my website. I’ll continue to donate proceeds from all such sales to Lafrowda Festival.
1st December 2016
A trip to London in September 2016 was an inspiration for me in an unexpected way. Naturally the exhibitions I had seen in the capital were stimulating as was the metropolitan environment, so different from Cornwall. In the end however it was a relief to be on the way home and it was pleasant to relax for a while at Paddington Station before catching a late afternoon train to the far west. It was during this ’chill-out time’ that I came to the surprising realisation that Isambard Kingdom Brunel’s engineered girders that make up the station’s overhead canopy could provide my next starting point for a painting and the sweeping arcs of this canopy with light playing through its glass roof-panels were to prove a pleasure to paint once I was back in Cornwall. It was a theme that seemed to demand a soaring vertical format and resolved itself as a kind of colour-chord of rusty reds, sky blues, neutral mixed greys and whites.
6th November 2016
In creating the painting I call Sailing home ( http://hendersonsmith.co.uk/sailing_home.html ) I came to realise that, although the image had come from a recent walk along the banks of the Camel Estuary, what in fact resonated for me here were memories of boyhood holidays along the South Devon coast; my brother and I half living, half imagining Swallows and Amazons type adventures* as our parents and younger sisters looked on from the nearby shore. Here again it was lingering over colour and form that brought this resonance to mind. I’ve aimed to embody my enjoyment of such resonances in the way I’ve painted these pieces. Of course viewers aren’t going to know about such personal references unless, like yourselves they’ve been informed about them. Nevertheless I’m confident that, as long as I can bring my sense of joy into making each painting, people will be able to bring in their own associations to enrich their viewing.
6th November 2016
This painting ( http://hendersonsmith.co.uk/summer_evening_corner_of_st_columb.html ) grew out of wandering within earshot of one of a series of chamber music evenings given by Harmonimusik, an ensemble that visits us here in St Columb every summer. I’d been able to attend an earlier concert in the series but this time I had been looking after a display of my paintings nearby beforehand and would return there during the interval to meet browsers. The resonance here was clearly related to the music I could distantly hear. In this painting I therefore aimed to let the interlocking planes of stone and hanging slate, gable-ends and roof sections sing together through colour and pattern.
6th October 2016
The other day the exhibition I’ve worked towards for at least 18 months came to an end. All except the few sold items had to be carefully packed and transported back to my studio. Once that would have been a bit of an anti-climax. Now, fortunately the show goes on – online. The concept of the collection that emerged so tentatively, as each canvas came into being and added its unique facet to the whole, is still there. You can see what I mean at (http://hendersonsmith.co.uk/at_work_at_home_installation_shots.html ).
The concept of this particular show was something that embraced and was informed by my experience of having to move out of my home for a few months earlier this year. You can read about that at http://hendersonsmith.co.uk/blog/?p=556 which was also published in a booklet about the exhibition.
I’ve documented previous exhibitions in a similar way, sometimes with a virtual tour. All can be accessed through the exhibitions page link above.
It can even be the case that a collection gets added to after the event of the exhibition itself. This continues to be the case with the Ten Years of Lafrowda Paintings show that happened in 2012. That’s because four additional paintings so far have been inspired by subsequent versions of the festival. Long may that continue!
And so it goes on ….
25th September 2016
Link to image page
For several months I’ve been working on a metre square canvas that was inspired by one of this year’s Lafrowda Day processions in Cornwall’s most westerly town of St Just-Penwith. Mad Aviators at Lafrowda (http://hendersonsmith.co.uk/mad_aviators_at_lafrowda.html ) translates this spectacle into a riot of colour and shape. An apparent biplane, a ’red arrow’ and other miscellaneous forms of aerial transport process past my old studio in St Just-in-Penwith.
A wise artist-mentor I knew in my late teens once came up with the perceptive comment and prediction that although earth-bound in my approach I have a way of sticking at things and that in my painting this would one day lead to things ’taking off’. As I built up the layers of paint that you can see in a short video about the evolution of Mad Aviators at Lafrowda (https://www.facebook.com/lafrowdabenefitauction/videos) that long ago insight came repeatedly to mind. Without me knowing it at the time that’s possibly why this particular Lafrowda image had appealed to me so much on the day of the festival.
Like its predecessors that can all be seen at http://hendersonsmith.co.uk/PanacrossTenYearsofLafrowdaPaintingsexhibition.html this one will be the subject of a benefit auction, to support the future of this extraordinary community event, that will conclude on the evening of Lafrowda Day in mid July next year (2017). Creativity is sparked in the young by these festivals, cultural pilgrims to Cornwall are drawn in, small local businesses briefly flourish, we celebrate together!
20th August 2016
This is a new collection of paintings that Tom has assembled to exhibit in the gallery at the Shire Hall. These canvases are the result of his personal reflections on his sense of home and about work as an influence on the character of landscapes and buildings around him. Both are themes that have been highlighted by our recent experience of living in Cornwall, for Tom and I had to temporarily move out of our home earlier this year and rent a place at the other end of our town for a few months while repairs took place following a serious pipe-leak.
St Columb Major, where we live, is as centrally located as any town in Cornwall. It is Tom’s sense of being at home in these surroundings that comes across in the way he uses the interlocking shapes of buildings in these recent paintings; a feeling of community emerges from the way they fit comfortably together, often highlighted by the warmth or vibrancy of his colour schemes. He picks up on these qualities too in the other towns and villages that we visit and also brings out the harmony that he feels exists between these Cornish houses and their environment.
Industrial landscape is a recent re-discovery for Tom, one that harks back to his West Yorkshire youth. During our recent house repairs, whenever we returned to the studio, we could hear the hum of the industrial fans and dehumidifiers that were drying out our home. This sound resonated for him with memories of the factories where he had worked in his student holidays. He found himself further drawn to the intriguing patterns and shapes of certain industrial buildings. Fascination with their visual rhythms and colour variations became a vehicle for him to express something of the pride in our industrial heritage harboured by many a Cornishman. This he clearly identifies with. Ancient and modern farming methods have also found their way into his recent work.
Tom gave the title ‘Lived-in Landscapes’ to a previous collection that he showed in Bath and Penzance in 2010 and these new paintings pursue that idea more specifically in terms of work and home. As in those previous paintings there is a sense in which he has literally lived-in these compositions, translating the images that sparked them into becoming varied areas of colour, tone and texture. “I find”, he said then, “that lingering over the colour mixtures, the paint layering and the brush or finger marks that I use begins to coax a feeling of life into what I’m doing. This is something that I enjoy and that gradually leads to a sense that the piece I’m working on is beginning to have a life of its own.” In a similar way his recent themes of work and home appear in the style as well as the subject matter of his new paintings: in their rich layering of paint, their working and re-working and in the way he has developed each of them to a point at which we sense the rightness of the way everything fits together and seems to belong. These are landscapes that are lovingly painted by an artist who has come home.
27th July 2016
Following the successful conclusion of the Lafrowda Festival Benefit Painting Auction on July 16th 2016 I first of all felt drawn to make some gentle pastoral pieces.
So, back at my Studio after all that excitement, my priority was first of all to ’chill out’. Valley shapes, St Columb came from this impulse in which simple bands of colour, on quite a small scale, interpret the ’soft weather’ of a damp July day here in mid Cornwall.
A little more ambitious, though still using modified bands of colour that step straightforwardly into the landscape space, is Summer storm over Castle An Dinas . A suggestion of movement from right to left became a pre-occupation here, hinting perhaps at the drama of the back-story, the ancient fortified settlement that later served as a roundhead encampment here in a strategically central location within the Duchy.