Process

 

My paintings are made from the direct observation of still lives. I make my set ups on a counter in my studio, under a north facing window. I use pots and ceramics made by local artists (Toni Losey, SeaStar Pottery, Katherine Highfield, Christine Waugh, to name a few favourites...)  I use found glass vases, ink bottles, medicine bottles from thrifting and antiquing.  I am most inspired by flowers that grow in my own garden, specifically spring branches such as magnolia or quince. I also purchase flowers when mine are not in season. Through the winter months I supplement my flower supply by forcing bulbs or using dried herbs, seaweeds shells and beach findings.

I make an underpainting in thinned raw umber on birchwood panels. I work out all the drawing and value relationships in this first layer. The second layer is colour. I work first in very greyed mid tones and gradually add more vibrant colour. I prefer subtle colour, and creating a relationship of a single colour to a neutral backdrop. 

I try to keep my marks loose. I stay moving and work very quickly. I like things to look energetic. I detest staleness-I don't want anything to look laboured or overworked.  The painting needs to look fresh and easy. if it does get overworked it gets thrown out immediately.  I trust my eyes and not my brain. I rely very much on muscle memory; I make many studies and drawings, to teach myself about the objects I paint before undertaking a larger piece. 

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Studio Views

I have a studio in our home. Our house used to be broken up into two apartments-- we converted it back to a single family home once our third child was born.

I work in the old "upstairs kitchen". The "kitchen" has ample counter cupboard space. There is a lovely north facing window, with a counter underneath. This is where I do most of my painting. 

I love the views to the backyard, our small pond, and my husbands architecture studio. 

briana scottComment