Wednesday, 13 December 2006

hawaii now complete

Here's a close up and a full frontal of Hawaii for Rachel and James its the view that Rachel and James chose with a kind of reference to post Gauguin colourists. I was unsure at first but now i like it. I hope that they do to, I've tried to make the land and sea as warm as it is down there in the tropics, not an easy task as the sea is blue and even the warmer turquiose blues always look cold in a painting or in a photograph, the red beach is to signify a steamy time. I'm also thinking about whether I should put some people into the painting sitting down by the trees? Two older guys Gaugauin and/or Van Gogh maybe or Rachel and James walking along holding hands?

let me know?

Thursday, 30 November 2006

new work developing

skipton canal

Rachel and James' Hawaii-moon

Here's a drawing and a sketch of the image that I've done in my sketch book for Rachel and James Hawaii-moon picture. I'm working out sizes now but I think we are going for a box canvas with the image lapped around the side and top edges.
If you want to choose another image let me know quickly.

some examples of other work in Hawaii this is a watercolour with body colour good colours but not really my style

this is a Gauguin nicer deeper colours, but alas I don't have a pic of Rachel or James on a beach

this is after Gauguin again stronger colours if you take a look at the draft at the top I would produce something that lies style wise in between the three examples .

anyway do let me have your opinion as a comment here or email me if you like

Monday, 27 November 2006

new works on the easel

New works in progress on the easel.They represent a change in design and method, the paint in these works is splattered and pasted on with rich deep cobalt blue and yellows contrasted with burnt sienna. I think its bringing out the best of the works that I have been involved with over the past two years and not only does it do that but also re introduces throughout the layers of the work my graphic drawing of houses and perspective which I love doing with a quill pen and ink in particular i like the way that I've been able to redraw straight into fresh paint with the brushes handle.skipton canal church road cut or at least that's what I have named it.

Saturday, 11 November 2006

ancient wet meadow fields sketch book.

rob miller paintings
sketch book work

north west pennine uplands

plan and map of the fields showing areas of interest and artristic endeavor

evening dusk end of a day cool blue
near belmont and bolton
further down near the river
above the wet field level and coming onto walled moorland
detail of the colours of ripening grasslands
a couple of sketches of new conversions on the road above belmont.

rob miller paintings

detail of lancashire dry stone wallers
above bolton rebuilding walls on a hot day
2 paintings acrylic on board
price £256 each
can be seen at the bolton visual arts network gallery
above Spikes James hair salon
Tongue Moor Road Bolton
Stone from the walls had been stolen by local bolton builders for profit and the two volunteers were toiling in the hot sunshine rebuilding whole sections of the wall.
the wall actually lines the edge of an area of special interest, one of the few remaining wet field sytems above the valley to the north west of Bolton. The fields drain into the river which runs down from belmont village once upon a time the deer would make their way grazing down the river almost into the town centre next to areas of urban deprivation , mixing with horses amongst the fields and old ruined mill buildings.
Because of its position its a great place for seeing birds of prey and deer.
this rare area has some beautiful walks that cross open moorland and splendid views towards winterhill across the valley, and downwards towards belmont village and its church.
Amongst all this the local farmer born in the farm some 75 years ago farms on.

Monday, 30 October 2006

And the sheep went on being dead,Ted Hughes Painting

acrylic and charcoal on wood block
62 x 62 cm
This is an individual piece. Inspired by Ted Hughes work in part and in part by the french poet Jaccottet,. The paintings portrays the bleached bones of a sheep that is slowly sinking into the black peat above the village of Helmshore at the foot of the Rossendale valley. The colours are beautiful indian reds and blues. It was displayed in a number of northern shows but in one in particular organised by Paul Stone called 'out of the blue' and I dedicate this dead sheep to him.
There you go Paul enjoy.

Clivager Gorge , Lancashire Painting

acrylic on canvas
work number 2
I started this series of work around and about ten years ago soon after I read Ted Hughes poems on the last Dukedom of Elmet the last separate fiefdom in Britain apart from Brock on Tweed. Hughes writes about Clivager as a landlocked mass amidst a sea of open moor, whose only entry is through steep sided gorges.
It’s a very hard but I think beautiful place much ravaged by time with abandoned mine workings dating back before roman times and into the 1970’s when war between Scargill and Thatchers politics resulted in the clearance the workers out of towns like Bacup a proud Pennine town that has not yet recovered from those days.

A second thing of interest is that some of my ancestors were brought up there, the greenwoods who lived in some farms at the top end of clivager and who ran a haulage firm. A great Uncle who was killed by a black horse called Satan, my great aunt who died an alcoholic and my grandma. My cousins Irene and George still live nearby in Burnley.

The paintings are in acrylic on canvas, I’ve textured them and over painted the texture to try and replicate the feelings of the layers of time that have wrought the strange hills, and lumps and bumps that can be seen along the valley.

The work is 70 x 70 cm framed and is currently on the wall at the
Wensley gallery Ramsbottom Lancashire
At an affordable price of just under £400.

Saturday, 30 September 2006

Holocaust, Painting

Rob Miller Paintings
Washroom block 11
September 29th 2006-09-30
acrylic on canvas 91x61mm

I first came across a photograph of this image in an article in the Buddhist Art magazine Urthona at the Manchester Buddhist centre and was struck straight away by the human way in which the curtain had been hung on the window. Whether the reason for hanging it had been to create a private space for the condemned people to undress in or had in fact been hung at the window to prevent them having a view of other prisoners being shot I do not know. But for me, what is plain to see is that someone had thought about someone else’s reaction to the situation concerning the room.

The act of hanging a curtain appears to me to be somewhat similar to the action of taking off and folding carefully the cloths that the condemned had left on the sink before they were taken out to be shot, these human actions that involve our privacy the curtains the cloths convey an intimacy with a moment in a persons life that we all share in our basic need for clothing, food and shelter.

As someone who grew up under the shadow of the 2nd world war war in the 1950's and witnessed the development of the Israel State I have always retained some sense of a European social guilt and personal betrayal that the politics of the western world caused such human misery and still continues to do so in other parts of the world. Why? Because as Winton Higgins says in his article that accompanied his photographs in Urthona that "we tend to view evil in the West as something outside of the self, it comes I think from the religious perspective of a devil who exists to get us to hell, well the evil is within our own minds," in Buddha Dharma we call these inner devils Maras. How do we change the way the western politics work? well its our own minds we need to work on a sense that it is we and not some external force that creates such travesty.

I've reworked an image based on the original but have changed the mood by working in deep reds and golds so as to create a space or sense of bardo that the condemned person may have preferred if we can indeed have a preference in our last journey in this body, the gold to symbolise the pure land that may lie beyond, interestingly as i reworked the sky a face kept appearing as did a face in the blanket.

work is acrylic on canvas 91x61x35mm price £1250. sold

Friday, 22 September 2006

Red Birch Painting

rob miller paintings
red birch series
acrlic, oil and inks on canvas
100x 80 cm
number 3

I started working on this series about 12 years ago at rivington woods which are quite an ancient site with some old birch trees whose bark shines red in certain lights. I suppose it was this that made me think about the effect of light and the effect of wood together not only as images but as part of the elemental process that our ancestors may have seen as possessing something other than self. So I created drawings and looked at cave paintings mostly in France.
I do like this work because it has plenty of me in it.
its price is £350 making it more than affordable please contact me with your comments

this is one of the first sketch book notes I recorded during my second visit to Rivington to relook at the Birch and the effects of light.