The latest collection of oil paintings on canvas by Hilda Devos.
Possibly even more mysterious and evocative than the previous series of paintings (see September 2020).
An incremental invention of freedom.
The results of my drawing expeditions, mostly along the banks of the Schelde. I draw in open air as often as I can. Usually my drawings end up in storage in my studio. Recently, I realized that I can 'store' my drawings in this blog, on view for anyone interested in drawing (and painting).
The latest collection of oil paintings on canvas by Hilda Devos.
Possibly even more mysterious and evocative than the previous series of paintings (see September 2020).
An incremental invention of freedom.
Same conditions as yesterday, apart from a tad less of a breeze (still too much to put up my umbrella unanchored, and I didn't feel like that, so I didn't). Air still humid and chilly, doing a world of good for my joints and bones. Hands cold. Likely the last expedition this summer.
Herons, geese, a falcon.
One dog-walker + dog, far away. Before seven, a stocky man on an electric bike whizzed by, on his way to work, presumably.
What I learned these two days:
- I need to draw more often.
- I still feel the need to be closer by the sea; the real thing - with a surf, a rhythm, variability and stuff like that.
- My favorite weather is still: mist + intermittent showers + fog + low humidity + gusty wind (from the SE!) + high clouds + some haziness + low clouds + a smidgeon of sun. So, all in all, not too much to ask.
- I still feel the need for working longer on drawings - homework?
- I still don't know how to draw, which is a great relief. Eye, hand and mind are still as mutually suspicious, enough at loggerheads, to prevent (total) routine. What is left from this strife, on the paper, is, I guess, an uneasy compromise, a precarious truce. May it ever be so. If not, then all-out war, der totale Krieg. And my materials are as luxurious as ever, split & hammered bamboo and Kleenex making a renewed entrance today.
Just maybe, one last bout of summer weather soon?
Arrived early, 4:40. No border control. SW breeze bringing chilly humidity and dew from over the drink. Impossible to set up my umbrella. Faint smell of the sea. High tide. Quite dark; couldn't very well see how far I had to go to reach my spot. Stars out, only faint whisps of cirrus. Coffee and sandwich while awaiting the advent of first light.
Lights of cargo ships passing to the left and right, in the darkness.
At some inexact point, there is just sufficient light to not wait any longer: when the piece of white paper is just as obscure as the space around. When you don't exactly see what you're doing, just as you don't know what you're seeing. The grey area between vision and observation. La vision oblique.
Almost no people (two dog-walkers, in the distance). Few animals. Formations of geese flying in all directions, as if in training.
Back tomorrow.
Due to reasons of an epidemiological, meteorological, commercial and confidential nature - besides a bloody premature autumn -, I have, for the second summer in a row, not succeeded in organizing any drawing expeditions.
It fills me with autumnal melancholy and bitter Weltschmerz.
There is good news as well. From now on, you will be able to read my reviews of Belgian exhibitions in the bi-monthly New Art Examiner (see above). The paper version of the July/August issue duly appeared in July, the online version just this morning:
https://www.newartexaminer.net/pierre-alechinsky-carta-canta/