Perhaps choose music (Maxwell Davies’ ‘Runes’: jagged spiky spacious, mystery and awe) or recording of Orcadian voices (fishermen or poets: rhythms rising falling flowing lilting laughing interwoven soft and story spinning)
Empty mind think only of the place.
Mentally assemble such essentials as stark clarity of edges, flat solidity of bedrock, horizontals and the history of bones, consider stone-told evidence of man’s long ago existence piled and dug and scratched and shadows cast from slabs now stood.
Begin with what already learnt what quality of line how tremulous how strong the shapes what subtlety what strength the colours.
Begin.
Pressure thinness side or point wide sweep or narrow delineation pause tentative too tentative feel add another colour solid shape again transparent over wash highlight with pencil by now not thinking feeling coming automatic instinct taking over fingers dancing lightly applying playing blending risking hesitating scribbling blurring stand back exaggerate a little here and there some whiteness, lightness, tiny brush just dipped and dabbed in shallow water allowed to puddle slightly left to rest.
And look again and think and pause go slowly now some parts seen as too precious to disturb to risk but risk so often makes the difference between what is fine and what makes it more than exactly and surprisingly just right.
Slow again stand back look more wait for a claim for more when all is silent then can call it done.
Done.
‘Essence 1’ (mixed media on paper, 11½ x 8") depicts a sense, a distillation of a particular place, a place of importance to me. Not to tell me what it looks like so much as describe how being there makes me feel. In making this there is the hope that it will speak to others, that they might recognise the essence of their own place of importance. Seamus Heaney explained it better in describing Felim Egan’s work as ‘manifesting the exquisite ache which the physical world induces’
