My studio is an old cider barn that looks out across a farmyard from a large, west- facing window. As a painting space, it can be pretty dark through the winter months, but each spring, like some ancient Druid, I wait for the day when the sun just gets into one corner of the studio before setting over the barn across the yard.
From that day on, through the spring and up to mid- summer, the puddle of sunlight gets bigger and the light stronger until, by mid-June, I often can’t work in there at all as the sunlight blazes in and lights up the whole building.https://www.youtube.com/watch?v=RthXXGhMvgM
There are days when I hope it might be cloudy, or perhaps even rain, to slow things down a little so that I can do things in a more considered way, but every spring I find myself waiting with growing excitement for the day that I can start to make paintings out of the frenzy of the returning sunlight.
The sun moves quickly – in minutes the shadow of a glazing bar moves across the newspapers sprawled on the studio table. The reflected bounce of colour and light is quite unlike anything I’ve seen all through the winter.
On one such day I manoeuvred my easel so that I could paint a succession of little panels as the scene changed. I laid out my usual palette in the usual way, with a handful of brushes and a jar of spirit to swill them in, so at least that part of the process would be automatic.[caption id="attachment_27" align="aligncenter" width="979"] Corner Table, Spring Sun, oil on canvas, 20?24in (51?61cm). Painted over three sessions, I liked the strong diagonal accents of alternating shadow and light, and the reflection in the mirror at the back of the group[/caption]
No particular thought went into setting up a still life as whatever I did would be subverted by the unpredictability of the splashes of brilliance and darkness – as the sun passes over the studio clutter all things move in and out of the light.
There wasn’t too much thought about composition either – this isn’t about stable pyramids of carefully drawn structure – I got it down as it happened by watching the movement of the light through the next hour or so, painting a sequence of little notes.