An almost full sketchbook

My painting style has evolved as I found a freedom in the interpretation of the subject that I hadn't encountered before and I think this stems from investing all my energy into the sketchbook before I even thought of making stand alone pieces. Always adhere to established working methods as it gives the best results.

Work in Progress: Applecross, Wester Ross, The Highlands

Using photographs and memory I've been building up a collection of images in a sketchbook using various techniques - collage, acrylic transfer techniques - around my recent trip to Applecross. The photos evoke a rich sense of place and history. It's an unspoilt coastline, no industry to speak of apart from tourism on a small scale - every view is vast and open, huge skies and rugged mountains, endless coast with views as far as Harris and Lewis. I also had inside knowledge thanks to the expertise of our 'guide' Iain MacRae [my brother-in-law who was born there] whose colourful descriptions of local characters and the life they had, began to play upon my imagination. I plan to evolve the sketches into larger scale works using a variety of media but mostly painting I think and then of course find a venue to exhibit. 

"Lifetide Series" - Exhibition Notes

Ideas are there for us to discover, if we can see them, if we know where to look. 

1.  Brick dust over everything. Building work at home 2010. Random marks on surface of kitchen appliances reminiscent of organic shapes, animals, birds.

“There is one common flow, one common breathing. All things are in sympathy”
— Hippocrates, 5th century B.C.

2.  Lunchtime doodle in a notebook, scribbling for the sake of it. The shapes are organic and grow on the page. Currently reading "Lifetide" by Lyall Watson. There is a quote on the beginning pages: 

Sometimes ideas connect, breed and grow, transforming into something new.

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3. & 4.  I decided to use the unusual shapes in the dust as a starting point for a new series of‚ abstract‚ work and, wanting the shapes to be more sophisticated than my doodle, begin to sketch out lifeform shapes.

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5:  Collage is the next step to further realise colours and the composition of larger pieces - I have enough shapes for 12.  I want rhythm and a connection between the shapes - "the one common flow".

6:  In the final paintings (four so far) I reinterpret the colours of the collages.

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The new finished "LIfetide" Series are available here and all of the pieces are available as limited edition giclée prints.

© David Lyon

Roundhay Open Artist Studios Art Event 2015 - LEEDS

The Roundhay Open Studios Event 2015 is an annual event to show the diverse talents of local professional artists. On Sunday 26th April 2015, visual artists in the LS8 area of Leeds, West Yorkshire, opened up their art studios for the day.

"I opened up our home to showcase my original art, acrylic on boards, sketches and works in progress - some pieces only friends and family had seen before. I talked about my work and the creative processes and over 50 pieces at home were on display as well as a selection of limited edition giclée prints and greeting cards. It was a busy day, helped by the sunshine - over 100 visitors on the day with a few more the following week."

Please contact me on 07968 131866 if you are interested in viewing any of my pieces at home.

All of my work can be found on my website here.

Facebook: Roundhay Open Artist Studio

Details: here

Ink Flowers Series 1

Ink Flowers, Series 1 – ink drawings using Winsor & Newton inks on Hahnemühle Traditional Fine Art Paper.

“The ink flower series uses brightly coloured drawing ink on the rough side of Hahnemühle Traditional Fine Art Paper.

There is a degree of control in using the brush to apply the ink. The textured paper gives rise to spontaneous edges and the element of chance comes into play.

I'm reminded of the art of "Sumi-e" - oriental brush painting that uses black ink to create beautifully simple renditions of natural forms”.

Inkflowers - Series 1 and Series 2

“The Inkflowers Series uses brightly coloured drawing ink on the rough side of Hahnemühle Traditional Fine Art paper and Winsor & Newton inks.

There is a degree of control in using the brush to apply the ink. The textured paper gives rise to spontaneous edges and the element of chance comes into play.

I'm reminded of the art of "Sumi-e" - oriental brush painting that uses black ink to create beautifully simple renditions of natural forms”.

ART TO BUY: Inkflowers Series 2, original art using ink, available here.

Inkflowers, Series 2 – Original with Mount - ink drawing using Winsor & Newton inks on Hahnemühle Traditional Fine Art Paper.


10 highlights for 2014 for David Lyon Art

1. Realising that commitment and dedication to my craft brings positive results;

2. Finding out that taking the easy route isn't always the best;

3. Finding that having a professional approach to how I work engenders creative self-respect and the respect of my peers;

4. Realising that it's essential to use your own ideas;

5. Being comfortable with calling myself 'An Artist';

6. Realising that not everybody who makes 'Art' is 'An Artist';

7. The feedback I received from people who chanced upon the 'Wildflowers' series exhibited at St. James's University Hospital was positive and life affirming, meaning I'd reached people and communicated  - which is what I set out to do;

8. Having positive support and interest from galleries who chose to display and sell my work;

9. Making things - paintings, prints, cards, calendars - that people want to buy;

10. And last, but far from least, having the love, support and help of family and friends (you know who you are). Thank you.

"Wildflowers" Christmas Gift Ideas

I'm aware 2014 has been very much about my "Wildflowers" series. To round up 2014, I have produced a few gift ideas for Christmas from my “Wildflowers” series:

·       2015 Wildflowers calendar – showing a few of the “Wildflowers” original sketches and acrylic on boards – available from my website here.

·       Limited edition giclée prints – mounted and unframed available from my website here, or mounted and framed here.

·       Canvas prints - available from my website here.

Most of my images are available as limited edition giclée prints - please enquire Dave@davidlyonart.co.uk.

Where to next? Inside my sketchbook

I’ve had a busy time the last few weeks but it's time to get back into the studio.

My garden is often a source of inspiration. Having noticed a decline in the number of small birds visiting recently (which has been widely reported) I set about making some scribbly sketches with a view to reinterpreting them as larger pieces. I found they naturally fell into seasons depending on the coloured background - the blues and purples referencing the colder months, yellows and greens the warmer. I think the deep reds and oranges are Autumn. Simple colour psychology.

I wanted the simple bird shapes to denote the absence of the bird rather than a presence - a ghostly silhouette. There is also a fox that makes an appearance but he too has been absent.


North Leeds Life Review: October issue

North Leeds Life: October issue: Carole Carey-Campbell and Brendan Campbell visited the studio in August. We discussed art, music and what's happening in Leeds. With thanks to the team at North Leeds Life for this editorial piece on my show at The Atrium Gallery, Leeds.

From the Archives: Exit Series - Acrylic on Boards – 2001

Exit - The Fan

Exit - The Shadow 

Exit - Dead Flowers

The “Exit” series was made in an attempt to capture feelings about the horror of 9/11 prompted by a newspaper photograph. The three paintings (which I see as a triptych when hung) use deeply textured, monochromatic acrylic with found objects embedded and attached to the surface. 

The Atrium Gallery Exhibition - Leeds

My art show at The Atrium Gallery has been booked for two years. It's difficult to obtain premium space to exhibit art in the Leeds area so I'm really pleased and grateful that the selection panel at St. James's agreed to show this series.

Due to the nature of the venue there are restrictions on the type of images that can be displayed, so no sex, glamour, religion, violence, death or politics. Fortunately at the time of submission, I'd been working on some very colourful, optimistic flower images.

Upon securing the exhibition site it was decided that I should work towards filling the space with images based around the initial idea. So making larger versions of the initial six that were chosen to publish as greeting cards seemed a logical step.

The larger paintings took six months to complete, each one in succession. Some are truer to the original sketches than others but the fact that I was using a different medium - acrylic - meant that the colours probably wouldn't be as intense as the originals - oil pastel and crayon.

The smaller paintings followed and I was keen to capture the looseness of the scribbles that I'd drawn which reference the original series. I'll have the notebook with me at the Private View on 7th August so that I can demonstrate what I'm talking about. All in all a busy 18 months so I'm hoping the show will look as good as I think it will and be good publicity for Yorkshire Cancer Centre. Let's hope we can raise funds for a much needed cause (25% commission from my sales will go to Yorkshire Cancer Centre).

Are Art Fairs good for galleries or killing them?

"The art world can't live with art fairs. The art world can't live without art fairs"

http://news.artnet.com/market/are-art-fairs-good-for-galleries-or-killing-them-28920 

My Review: Whilst this article relates more to galleries attending art fairs rather than lowly artists representing themselves it raises the topic of the sudden rise in number of art fairs now operating globally. I have received invites from fairs as far flung as Spain and L.A. indicating that they have seen my work via my presence online and how they would love to offer me a space (at cost) to exhibit. Artists hungry for exposure pay hard earned cash to exhibit but whether sales for the artist follow at the fair is almost irrelevant as the fair organisers have already made their money. Artists need to be aware and beware the well worded e-mail. Is the art fair the best way to gain exposure, and consequently the sales, that the artist needs to survive? Not every art fair is right for every artist.

Source via Twitter: ArtnetNews

Open Studio Day Saturday 7th June Central Leeds

I would like to invite you to my first Open Studio event on

Saturday 7th June

from 10am until 5pm

Studio 18a, 30 – 38 Dock Street, Leeds LS10 1JF.

My latest paintings, sketches, panels and lots more will be displayed. You can see my sketch books and see where my inspiration comes from. Original paintings, limited edition giclée prints and greeting cards will be available too.

RSVP beforehand, if you can, to me Dave@davidlyonart.co.uk or Catriona Catriona@davidlyonart.co.uk.

Directions: From The Calls, continue onto Call Lane, turn left onto Bridge End, take the 1st left onto Dock Street (just before the Adelphi Pub). Continue to the end and the studio car park is immediate right with the iron railings. Park up, buzz 18a and we'll let you in.

Parking is limited onsite (5 spaces only) but plenty at The Tetley, so you may be redirected - it's just round the corner (charges apply at The Tetley).

Up to date details on facebook here.

Hope to see you soon.

 

The Tetley, Leeds

I visited The Tetley today and was impressed by the space and ambience. It's a centre for contemporary art, housed in the former 1931 Tetley Brewery headquarters. The heritage of Tetley’s was still very evident, the original features of the building have been retained - lots of oak panelling and a boardroom with chandeliers.

There's a very accommodating cafe/bar (selling cask Tetley's I'm glad to say) where the service and coffee were good - open from 9am to 11pm. The main space for the art is white and minimal - on display: "Downtime" a sculptural installation by Ben Cain and "Skittish" by Lisa Watts and Samara Scott - "a dense scenery of shapes, smells and forms through her use of unconventional materials - everyday objects stretched to their upmost capabilities". Various oak panelled rooms were housing smaller satellite installations/exhibitions.

As ever, with most "contemporary art" I feel like I'm missing something if I don't understand the concept by the visual alone and then have to read a small thesis on what the "art" is about. Should the audience have to work harder than the artist to gain anything from what is on display? Does the "art" even need an audience to be relevant?

However, Leeds definitely needs this important space and I'm proud to have it on my doorstep. I'll definitely be visiting again - art and beer in one place! What more could I ask for?

http://thetetley.org/