Down by the River, Hampi, Karnataka, India
Three months in lockdown in central London has been a shock. In every way, for everyone. The unexpected outcome for me as an artist was that I became very involved in looking at and tending to my very small London garden. I had come back from India brimming with ideas about desert landscape but it now felt inappropriate and redundant. So, I embarked on one garden painting which is now ten, and I have called them the Lockdown Garden series. I hope that some of these will be in my postponed Exhibitions. But have a look now in Paintings.
When I got back in late February from a painting trip to India the world was a very different place. The Exhibitions planned for the Spring in France, in Suffolk, and in London at the Royal Watercolour Society did not happen. All of these shows will happen in 2021. We hope! My work can be see on line for the moment at the RWS, and at Gallery East, Woodbridge Suffolk
After a busy summer working on large paintings for my forthcoming one-woman exhibition at the Centre Culturel Jean-Pierre Fabrègue, Ville de Saint-Yrieix, April and May 2020, I am participating in the Royal Watercolour Society's exhibition, The Art of Travel at the Bankside Gallery, opening October 11, 2019. This show includes work from Japan, Cambodia and Italy. My work has also been included in many art fairs this year, on the Little Buckland Gallery stand.
Just back from a working trip to Vietnam, Cambodia and Laos, I am working towards my next exhibition which will be a one-woman show at the Little Buckland Gallery, Broadway, Worcs. which opens on the evening of 9 May, and runs until the 27th. I will be giving a talk on my work in the gallery on Sunday 12 May around lunch time. I am also showing regularly with the Royal Watercolour Society. The next show is In the Studio, 29 March - 27 April at the Bankside Gallery.
My next working trip in the late spring is to Japan.
My show in St. Yrieix-La-Perche was a success both for the commune and for me. See pictures here. Four new paintings on paper will be part of the Royal Watercolour Society autumn show called The Colour of Water at the Bankside Gallery London. Opening October 4th 2018. I am now working towards a one-woman show at the Little Buckland Gallery, Broadway, Gloucestershire, which will take place in May 2019. I continue to write my blogs with enjoyment, discernment, and irregularity.
Lots of news this Spring. Just back from a painting trip in Mexico.
The French Government have organized Caldera, a one-woman show of my work at the Hotel de Ville, Saint Yrieix La Perche, which opens July 4th 2018, and runs to the end of August.
After being selected for the Royal Watercolour Society Competition at the Bankside Gallery London, my submission for Election to the Society was happily successful. I am now an ARWS. My work on paper is in their Spring show and will be exhibited four times a year from now on.
A new venture with six other artists with French connections is Lithos French Collection, which presents a small number of my works to a new public in the form of fine art giclée prints. These are a limited edition, signed by me, and printed on heavy archival paper.
I am writing a regular Art Blog which is published on my website, and also on my Facebook profile page.
I am working on paper this year. The series of paintings is called "Writ in Water" which comes from the inscription on the gravestone of John Keats in the Protestant cemetery in Rome, the city of my childhood.
A one-person show of new work Lodestone at the Piers Feetham Gallery, 6-28 October 2017
A one-person show at The Art Spaces at Cass Art London, 9-30 October
Group shows: Cadogan Contemporary London
Artist's Statement for Cadogan Contemporary:
My work is about the sensation of being outside in nature, observing the way light transforms a landscape through the arc of the seasons. There is no such thing as bad weather for me. Give me a storm over a sunny day anytime. Snow, fog, clouds, rain - all weather interests me. I think the paintings are not abstract - I find these terms reductive - but rather they are abstractions. They condense a real lived experience, caught in time in a new form and a language particular to me alone.
I make watercolour notes and sketches wherever I am - whether it be the Atacama Desert or the pond at the bottom of my field in France, but although I am a footloose traveller, paint-box permanently packed, (no doubt as a result of my peripatetic childhood) these studies are not the main feature of my work. They act as a sort of spur to memory, a visual diary, a handbook, and an archive of experience.
My paintings are never literal transcriptions, but are more like meditative evocations. They focus on the way real observation of the landscape mutates in memory. Wordsworth defined poetry as "emotion recollected in tranquility". Right now, in the relative tranquility of my London and French studios I am thinking about the way trees and skies reflect in water, but I am also fascinated by the act of reflection itself, which is the essence of what painting is about to me.
The new paintings of the Inner Hebrides, Corsica and France have not yet been exhibited and form the core of Robin's next exhibition. The work focuses on reflection - both in the metaphorical and literal senses. Robin is working on a series of paintings called The Water Garden.
On March 2nd, 2016, the Curwen Gallery celebrated 20 years of creative collaboration with Robin by launching a new 132 page book, Living Landscape, in conjunction with a major exhibition of her new work. The book contains a personal essay by the artist, a selection of work from the last five decades, and over 100 images of new work from 2014 to 2016. The book is now on sale, price £20, can be ordered from the artist, by visiting the gallery, or from Amazon.
" ... My exhibitions are like stories. They have always had important titles as do my paintings. There have been shows over the last - almost forty - years with titles like From the Distance, Sacred Geographies, From Bone to Stone, Vessels, Landscape Mysteries, Stones of the Sky and many more. Each show has had a strong plot. This book, Living Landscape, is a small selection of some older work chosen from these shows spanning five decades, and is a major introduction to new work from the last three years. It moves from my first tentative chiaroscuro teenaged drawings from the 1960s, through art school in the ''70s, through the decades finally to new work, hot off the easel. Collecting, collating, and working on this book has been like being on a dig. I have felt like an archeologist dusting off and annotating shards. I am aware that in the last few paragraphs I have used a literary analogy many times. I don't think this is a coincidence. I am a painter who writes. I am an art historian who makes art."
" ... My new paintings of Arizona, Utah, Corsica, France and England all contain ground mineral pigment collected from the actual landscape.... What emerges later on in the studios is a distillation of this lived experience.... In this show I have studied the effect of fog on the Venetian lagoon at many times of day and night; the clouds moving across slate on Honister Pass in the Lake District and the cliffs of Cap Corse falling headlong into the bluest of blue Mediterranean sea. The rock formations of the American SouthWest with their poetic geological locutions such as chimneys, buttes, spires, monuments, mesas and hoodoos have been major inspirations in the last two years. Hue, saturation, colour, contrast - all those magical Photoshop options - are the bedrock of my paintings."
" ... It often seems to me that it is not a matter of making the painting, but finding the painting. It is drawing out, not drawing on."
Robin Richmond, Living Landscape, 2016.
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© Robin Richmond, 2019