Lymeregis Cobb painting with latest reworking. I’m adding more gestural marks to the side and top of the Cobb and to the sky. I think I’ll be leaving it alone soon. A painting is never really finished you just stop at an opportune moment. It’s often knowing when to stop.

Another section of the ‘War’ painting from the bottom corner. I was drawn to these two figures. I made the pencil marks first, then got disturbed by a tour going round the exhibition. I came back and added the oil pastel colour. Some of the marks are quite thin and layered. You don’t get an impression of the colour from the catalogue that I bought. Drawing always brings the experience and moment back to me much more fully. I have a little sketchbook and a box of pastels that are quite big and chunky with particular slots for each one which makes responding easier in what was a very busy gallery. Chagall is hugely popular still and it was the last day of the show. A great experience that I will be processing for a long time.

Here’s my sketch made in oil pastel and soft pencil on the spot in front of Chagall’s large painting ‘War’ 1964-66 oil on canvas. It was wonderful to be stood responding to the colour and marks in front of this masterpiece. It really is time-travel I was responding to the actual brushstrokes the artist had made all those years ago. So much is going on in this painting. I bought the catalogue, but you don’t get a sense of the raised bumpy painting especially around the firey areas. Some of the paint is thin and looks almost rubbed on. This is the magic for me and the keys that unlock Chagall as I work. Just me and his painting.

This is still unfinished but I’ve done all I can for today. The painting is still in dialogue with me!

Here’s today’s painting well underway. I decided to make an oil painting of a detail from the large oil pastel that I recently shared on this blog. I’ve  been really missing the sea as I’ve mentioned and it really helps evoke special places like this if I explore them again through my painting. The camber on the stone pavement that forms part of the surface of this iconic structure fascinated me. I can feel it still as I paint it. The sense of unease and exposure was unforgettable. I’ve really been enjoying working in oils again recently. The way the brush fights back is addictive.

Here’s the original sketch made on the spot that inspired today’s work. I hold the sketch in one hand as I draw. I taped the A1 paper to the wall and work standing up, so I have as much freedom as possible to make my marks and stand back.

Here’s a drawing I made today based on a sketch made ‘plein air’ at Lyme on the Cobb one very blustery day at Christmas, many years ago. I can time-travel through my work ,and feel the place and space where the inspiration came from. I’ll share a detail and sketch next. I’m missing the sea ridiculously just now, and felt the need to revisit the Lyme sketch work. I seem to be closing the Medea chapter and new oceans beckon.

Here are some light toned gestural marks on top of the dark shadows of the trees. I never use black but mix opposites or use earth colours. A brush and palette knife was used for this.