Wednesday, 13 January 2021


Removing unwanted stuff..

These two patches of light green paint 
were on a recent painting in my studio.

Over the years I have become accustomed 
to making changes in my work and I am not afraid of the task.
If it goes wrong it isn't life threatening, it's paint.

I find it useful to leave a troublesome part
until another day as the 'first encounter'
when I walk into my studio will often highlight unwanted parts.

This was true today.
In my mind, the two patches here were giving 
the picture an unbalanced appearance.

The paint was still tacky so it was easy enough to scrape it away. 
   I also used my knife to scrape deeper 
and reveal the colours beneath.

Here is the new image...

Immediately the painting takes on a new perspective.
I like these random scratches.

Now the painting is balanced.


Oils and cold wax medium on a
12 x 16 inch cradled wood panel.
In an off-white wood float frame.

My painting evaluation went on...

This small canvas had similar treatment.
The patch of yellow oil paint was giving a disjointed effect.

I liked the painting and wanted to keep the general appearance,
so I carefully rolled out the paint with a brayer.

Some scraping revealed the pink beneath and
a few fine lines and scribbles scratched into 
the yellow finished off my design.

It can rest now and dry.

'In the moment'

Oils and cold wax medium on 12 x 12 inch canvas 

I have placed the painting in a wood float frame.

The picture can be viewed like this...

It gives a totally different aspect.
A friend suggested the colours reminded her
of the colours of tulips.


Just a word about surfaces.
Using a wood panel means I can scrape 
back hard without damaging the surface.

On the other hand,
a canvas can get pierced easily if
there is too much rough treatment.  

I do like both supports,
it's really just a case of being aware and careful.   

That's all for now.
Until next time.

Tuesday, 12 January 2021

Tulip time

In the pink...

'In the moment'

Oils and cold wax medium on 12 x 12 inch canvas 

My friend suggested the colours in
my painting remind her of tulips.

I am not a floral painter but I can accept this.
I love tulips and have planted new bulbs this year.

The painting began well, then turned into a green nightmare.
Scrape down after scrape it stayed in an ugly place.
I thought I was stuck with a sea of green.

Today I mixed some magenta with a little yellow pigment 
and added this to the top of my green base with 
a second layer of pink/red to brighten.
I scraped back some red to reveal the base.
My painting was looking better.

I had a video call from my 8 year old granddaughter 
and showed her my work.  She liked the pink.
Feeling more positive I continued...

I mixed some lemon yellow pigment powder 
with Liquin medium and a little smudge of magenta.
I added a good squeeze of Titanium white with some 
cold wax and made a pile of blush cream.

The loaded palette knife was spread swiftly 
across leaving a raised textured mark.
  It was tempting to smooth it out but I resisted the urge.
Just a diagonal score through 'anchored' the mark.

As I had a pile of paint left
 I decided to change a previous piece.
The painting was dry so any paint applied 
would not become muddied as a result.

Here is the earlier image...

I turned the panel round to make a fresh start.

Using the same pinks I smoothed some on one side.
Then I picked up the creamy yellow on a roller
and pressed it down onto the panel.

A thicker piece of yellow was smoothed onto the bottom left.
 Then a small roll pulling the oils down made a bit of ridged texture.

I decided to leave it at this point.  
Any further meddling could set me back.

I took photos of the two paintings and 
sent them to my granddaughter.

'Find the answer'

Oils and cold wax medium on 16 x 16 inch cradled panel 

That's all for now,
thank you for visiting.

Anne Wood - Paintings

Monday, 11 January 2021

The trouble with abstraction.


There is a battle in my mind as I paint.

Time after time I struggle with my work and my
desire to make something which doesn't 
resemble a landscape or seascape.

Let me make it clear..
I have no dislike of landscapes,
I have painted hundreds over the last 20 years.

I do not want to paint them today.

The painting below is a good example of my dilemma.

There are colours and shapes.
I wanted the picture to be about that.

Then my brain began to 'see' things...
A dark sky, twinkling lights in the distance,
water and reflections.

Despite the vertical format, my abstract painting had 
morphed into something resembling a seascape.

Trying to make sense of it...

I think the problem lies in splitting the canvas into 
sections, foreground, middle and distance.

This is how I view the world around me
so it is natural to 'see' this in the painting composition.

Today I turned the painting round
and viewed it another way...

Strangely, this traditional landscape format
made me look at the work differently.

In my mind I have regained my non-representation image.

I can now appreciate the difference in dark and light,
concentrate on the shapes, textures 
and colours purely for themselves.

 The Dutch painter and writer Theo van Doesburg 

wanted to escape all influences of 

naturalistic or figurative references.

He wrote the following...

"The painting must be entirely built up with 

purely plastic elements, namely surfaces and colours.

A pictorial element does not have any meaning beyond itself;

as a consequence, a painting does not have any meaning other than itself" 

Theo van Doesburg, co-author of the 

Concrete Art Manifesto 1930

My own battle will no doubt continue

as I try to disconnect from reality

and reach absolute clarity in abstract art.

I shall persevere.

Until next time,
thank you for visiting.

Tuesday, 5 January 2021

Continuing my four aspects.

Balancing on the edge...

'The Dark Side'

Oils and cold wax medium on 20 x 16 inch canvas.

Yesterday I spoke about Balance.
This painting can also be viewed four ways.

I cannot remember how the piece began as
there are several paintings in progress.

Also, I am not good at keeping sketches or notes whilst I work.

Here is a group of canvases currently being worked.

The palette is Burnt Sienna, Ultramarine blue 
and Phthalo Blue red shade.

Three 12x12 inch canvases on the right...

Sienna and Ultramarine make a lovely rich 'black'.
This was rolled randomly onto the three supports.

I left white canvas bare for further ideas.
They are drying on the floor.

Floor painting is good as it gives me immediate access all round.
My tables are full of part worked pieces.

Something entirely different...

Just for fun this gorgeous Ultramarine Blue oil pigment powder 
was shaken onto some cold wax and rolled with a brayer.

I took a photograph for reference because this is temporary.
Fixing the powder will darken the pigment 
taking away this magical effect.

Here is another one.
Both are on Ampersand cradled panels.

This one began life as this...

I wanted to take it away from a landscape, so it had to change.   

It might have to move on some more.
It needs to dry a little to stop the mud effect.

That's all for now,
until next time.

Thank you for visiting.

Monday, 4 January 2021

A long journey.

Getting there...

Balance is something I like to have
in my paintings.  It is really satisfying to
turn the canvas around to see if it works.

Eventually I have to decide 
which aspect to use for display.

Tonal values are important too.
They give the painting impact.

Changing the image to black and white 
is a useful exercise for checking this.

Three main values are evident here,
along with a few more subtle changes.

I like this monochrome effect.

The initial layers of paint...

Yellow, turquoise, white and blue.
Scraping back revealed the colours.

The canvas was left overnight to 'set up'.
At this point I wasn't sure where to go next.

It was too much like a landscape.
I wanted to take it further.

Using a rectangular canvas is a challenge 
when aiming for a non-objective image.

The mind seems to automatically visualise 
foreground, middle and distance, particularly 
when drawing marks across like the ones above.

A new day, a fresh start...

Coming back to the painting I intended
keeping to the green/blue palette.

As you see, that didn't happen.
Eventually I arrived at a conclusion.

Now for the hard part...the title.

That's all for now,
thank you for visiting.

Tuesday, 29 December 2020

Making a fresh start.

Greetings from my Studio 

Happy New Year 2021

'Great Expectations'

Oils and cold wax medium 
on 12 x 12 inch Ampersand panel

This painting came about from a rescue...
I had scraped off a disaster and allowed the panel to dry.

Here are two panels ready for re-painting.
The one on the left is how 'Great Expectations'
looked before I began working.

I started by scribbling some marks with oil bars 
to loosen up, then applied layers of oils and cold wax.
Mark-making is always intuitive as I tease out
a composition.   I aim for harmony and balance.

The history of the original piece was revealed 
when I scraped back with a rubber squeegee.
Some of the scribbles are showing.

I put it in a simple black float frame.

Keeping warm...

The studio is a chilly place to work but my
wood burner stove is cheerful on a winter's day.
My painting sessions are short.

I am excited about this next painting..

It began as I used some leftover oils from a previous work.

Some random marks and a final
swift scrape from left to right signalled 'done'.

Fortunately, I set it aside to dry.
It really shows how less can be more.

Thinking about it...

I am reminded of the lush sea grasses on
Lincolnshire's coastal marshes.

'Sea of the Grass'

Oils and cold wax medium on 12 x 12 inch canvas 

Now for a complete colour change.
Pink and violet blue.

The painting can be viewed from left or right.

'Lightness of Being'

Oils and cold wax medium on 
16 x 16 inch Ampersand cradled panel 

It is on an Ampersand cradled panel
which has a different feel to working on canvas.

The hard wood surface makes it easier to scrape layers 
without the risk of damaging the fabric.

Arches oil paper also makes a good surface for making marks.
I often tape down a sheet of paper as a 'loosening up' exercise.

Here is a new sheet of 12 x 20 inch Arches oil paper.

This morning I taped off into 6 parts
with some spontaneous scribbles.

These will most likely get covered up under
layers of paint.   It's just for fun really.

If they look suitable I cut them to use as greetings cards.

My messy table...

Just to show you,

A 12 x 20 inch panel drying before the next move...
at this present time I haven't yet decided 
where I shall go with it.  

 It's in what I call the 'ugly stage'.

That's fine though.
It's the nature of my work.
I am happy with that. 


Here is a digital doodle.
I made it on top of a photo of my recent disaster.

If I was clever...
I would paint this 🎨

Actually, I might do that,
Success not guaranteed.

Until next time,
thank you for visiting.

Click on the link below to visit my website

Thursday, 24 December 2020

Peace and happiness

From Wild at Heart Studio 
to all my friends...


Thank you for reading my Blogs

Before I go,
here is a recently finished work.

This has been in the studio for several months
and I felt it was a little bland.

It needed a touch of darkness.
Something to harmonise yet add impact.

Using a mix of Burnt Sienna and Prussian blue
I added the dark marks in a random way 
giving the picture a dramatic feeling,
reminiscent of a shorescape.

'Weathered Shore'

Oils and cold wax medium on 16x16 inch canvas

Another recent painting in similar colours.

'Parting Ways'

Oils and cold wax medium on 12x12 inch canvas


A little painting from several years ago...
it went to a new home.

I like the soft, subtle colours
and loose brush marks.  

Oils on 8x8 inch canvas board

All for now...
until next time 
thank you for visiting.