Sheldonian Theatre Gates, Oxford

Sheldonian Theatre Gates, Oxford

Sheldonian Gates, Oxford

ink and watercolour on paper

200 x 150 mm

Lorna Marrison

£75.00 (unframed)

The New Triton outside the Radcliffe Humanities in Oxford.

The New Triton outside the Radcliffe Humanities in Oxford.

The New Triton outside the Radcliffe Humanities in Oxford.

ink and watercolour wash

298. x 196. mm

Lorna Marrison

£250.00

Triton was the son of Poseidon, the sea god, and was comanded to blow on a shell trumpet to calm the waves.

 Here I show a sexy hunk stradling the waves and blowing for all he is worth. So the next time you pass the Radcliffe Humanities check him out.

Philosophy on the Steps of the Clarendon Building, Oxford

Philosophy

Philosophy on the Steps  of the Clarendon Building, Oxford

oil on canvas

20. x 15. x 1.8 cm.

Lorna Marrison

'Lost Landscapes' in colour

Barton Road cricket ground

Acrylic, oil, on canvas with artificial gold leaf, 

10. X 8. X 1.8 cm

Barton nature park

 Acrylic, oil, on canvas with artificial gold leaf, 

10. X 8. X 1.8 cm

Horsepath site

Acrylic, oil, on canvas with artificial gold leaf, 

10. X 8. X 1.8 cm

Lincoln/Jesus sports ground

Acrylic, oil, on canvas with artificial gold leaf, 

10. X 8. X 1.8 cm

Littlemore Park

Acrylic, oil, on canvas with artificial gold leaf, 

10. X 8. X 1.8 cm

Minchery Farm allotments

Acrylic, oil, on canvas with artificial gold leaf, 

10. X 8. X 1.8 cm

OUP sports ground

Acrylic, oil, on canvas with artificial gold leaf, 

10. X 8. X 1.8 cm

Warnford playing fields

Acrylic, oil, on canvas with artificial gold leaf, 

10. X 8. X 1.8 cm

'Lost Landscapes'

Exhibition curated by the Oxford Committee of the Campaign to Protect Rural England

Local artists were invited to produce a piece of work in response to some of the green spaces that have been earmarked for development by the City Council – Barton Village Nature Park, the disused allotments at East Minchery Farm, Littlemore Park, the BMW Horspath site, Barton Road cricket ground, Jesus and Lincoln College playing fields, and the Oxford University Press sports ground. Nine artists were chosen from open submission by a selection panel which included Helen Statham, manager of the O3 Gallery in Oxford Castle.

Lost Landscapes
Bartlemas Chapel, Oxford OX4 2AJ
Tuesday 4 – Friday 7 September 10-5
Saturday 8 September 10-6

'Lost Landscapes'

Littlemore Park

Lesson learned from the previous efforts to simplify everything. The small canvas size 100. x 8. cm means that though I paint  using a magnifying glass it must be viewed with the naked eye.

I am making these drawings on an iPad using a painting app called Procreate. I am still developing my understanding of this app but find it good to be able to draw digitally away from my computer.

Lost Landscapes

Oxford University Press Sports Ground

I've been accepted for a CPRE's juried art competition entitled 'Lost Landscapes'. We are asked to respond to the green spaces that Oxford has earmarked for development. My proposal to the brief:

Our landscapes reflect the way we see ourselves. We give meaning and ascribe values. So whilst visiting these “Lost Landscapes” I felt that the dilapidation and firm ownership boundaries were intentionally excluding us from having a relationship with this land. The message given was that “These places are worthless”.

So I would like to propose an installation of eight oil paint canvases measuring 10. x 8. x 1.8 cm each one representing one of the sites. These canvases will focus on this alienation. They, when appropriate, are to be held and passed round giving the viewer a sense of connection and ownership. I hope that this visual essay will contribute to the discourse led by the CPRE and uncover deeper meanings for the viewer.

The title to this installation should be “Precious Now!”

The exhibition will be held in Bartelmas Chapel of the Cowley Road. The canvases are small and will have gold leaf to encourage touching. We all like shiny things?

A sad end to a good exhibition

Stolen from the Punter

I took my exhibition down from the Punter. I am happy to have sold 18 paintings. Thank you to all my new clients. Sadly this painting of the Angel Gabriel was stolen; leaving me with all the sinners. So if you see it let me know.

I am exhibiting in the window of the Evenloade DIY in Eynsham on the week-end of the 24 and 25 November.

Fame

Oxford Times, May 12, 2012

My exhibition made the local newspaper.

Hanging my Exhibition

The Punter, Osney Island, Oxford

Today we hung my exhibition at the Punter on Osney Island, Oxford. This is always a scary time because as a artist this is where you put your money were your mouth is .... literally! I have invested time, effort and money in this exhibition. So it was a surprise to discover that the plaster was to fragile to put hooks in and we had to go with the ones the pub put in for their own paintings. However the pub has spacious rooms with a good ambiance.

Sinners

My thanks to Tom Rainey for hosting the exhibition. My love and gratitude to my son Keith who sacrificed some of his sleep whilst on night duty to transport my paintings and help me hang them.

Visions of an Island

'Visions of an Island' collection hung between two huge windows with a view of the River Thames

Wrecked is finished

Wrecked, Osney Island

Wrecked

canvas, oil, oil pastel

25. x 35. cm

Lorna Marrison

I spent sometime last year exploring Osney island. One day I watched two narrow boats with a stag party get itself in a mess on the river. Shakespeare's play 'The Tempest' came to my mind.The resulting picture shows the morris men being wrecked on the island.

Brasenose Lane, Oxford

Brasenose Lane, Oxford

Brasenose Lane, Oxford
oil on canvas
20. x 15.4 cm
Lorna Marrison


I am preparing for  my exhibition next month. The morris series should go to be framed at the beginning of April. I have had the publicity postcards professionally printed and I am very happy with them. The exhibition guide is giving me grief. I decided to print the tri-fold leaflets myself on my ink jet  printer and it is taking forever to print.

Science Museum, Oxford

Science Museum, Oxford

Science Museum, Oxford 

oil on canvas

20. x 15.4 cm

Lorna Marrison

 I still get caught up with detail even at this size.

Radcliffe Camera, Oxford

Radcliffe Camera, Oxford

Radcliffe Camera Oxford

oil on canvas

20. x 15.4 cm

Lorna Marrison

This is a start of a new series where I explore Oxford. Despite living near Oxford for most of my life there is much of it that I have never explored. Looking at the postcards and contemporary paintings of Oxford much has been made of the Collages as a whole but little has been made of the more intimate aspects. I have found some new canvases which are a little larger and are of better quality then the ones I have used for previous series. I am now looking to expand the market for my paintings.

Wrecked; a new painting

The start

This is the last planned piece for the Osney Island Exhibition. I have painted the island using the concept of Shakespeare's 'Tempest' as a metonym for the island. In one of my visits to the island I watched two long narrow boats navigated by a Stag party jam their boat across the Thames when they started off in the morning. Clearly their blood alcohol levels were still high.

So I used this event to bring my Morris dancers on to the island as the Mariners and Nobles landed on the island in 'The Tempest'. My out line drawing was printed out to the canvas size; in pieces as the canvas is bigger then a sheet of A4 paper. This was then traced onto the canvas using graphite paper. I have found using this method has speeded up my productivity.

tracing and inking

You can now see the tracing and where I've started inking in with an indian ink pen. I am a little alarmed at how dark the ink lines are but I wanted to be freer with my use of paint this time.

Inked

I've only inked in parts of my painting that needed accuracy. All the rest I am happy to paint as I go.

Post Cards from Home

An Oxford god
Ashmolean Museum

Warm Weather

It's very hot and my house is hot. BTW when it's cooler.

... is this a syndrome?

I find that when drawing in public that some people make a point of getting in my line of sight.

Drawing this guy was delayed by numerous people including another artist standing in front of it.

This one was easier as he stands on a very high stand but staff members rally tours in front of me on how fab the new Ashmolean is with out a second thought.

 Wow! I am a tetchy artist some days.

Last time

'Anne Lucy' really does have a sharp nose but I think to make a better drawing I need to be closer.

Once again

Sadly 'Anne Lucy' is not much better this time. She would not be flattered if she could see it now. She was obviously proud of her 'bosom' looking at her from the front so I will draw that view next time. Third time the charm including my back being better!!

Girl with 'tash

Ashmolean Museum again. Alas my back is bad again so I feel I have an excuse for the bad drawing. This is 'Anne Lucy, Baroness Nugent' (1790 - 1848) by Sir Francis Chantrey who in life almost certainly did not sport the tash but the heavy shadows give that impression.