Ruth McLees Art

Solo Exhibition at Llantarnam Grange Arts Centre

2012-01-30T14:56:00.000-08:00

Figurative Paintings with Industrial Resins

For the past year or so I have been working towards this exhibition, which has been supported by the Arts Council of Wales. The use of resin ties in with my inclusion of coloured glazes, varnishes and semi transparent layers within my previous work, and is something I have been toying with off and on for the past few years.

The idea behind the project was to explore the potential of industrial resins as surface painting materials, allowing the resin to retain marks, imperfections and signs of the artist’s hand. I wanted to try to discover a new, gestural language of resins used in place of paint, and move away from the perfectly cast forms that we more usually assume resins will be.

This resulted in a year of experimentation, with this final exhibition showcasing the results. These include paintings made using specialist substances normally found on oil rigs and in car manufacturing plants, as well as the more usual latex and polyester resins. All work stems from the figurative as the figure is where my fascination lies, but moves away from the purely representational portrait to concentrate more on shape, form, feel, texture and gesture, refering to the language of sculpture and surface quality, volume, shape and size.

The Sea Made Flesh
Polyurethane Elastomer, Varnish and Pigment on Vintage Textile

A very exciting aspect of the project was the chance for me to collaborate across industry and work with a wonderful polymer chemist who has helped to guide, advise and inspire me throughout.

The results have turned out to be truly wonderful.

The exhibition will be officially opened by BBC Radio 2's Lynn Bowles on Saturday 11th February at 12pm. Please do come along for a glass of wine and a chance to chat to me about the project: see the invitation below or click here.

Llantarnam Grange Arts Centre, St David's Road, Cwmbran NP44 1PD. Map.

Overtone
Polyester Resin, Varnish and Pigment on Vintage Textile

Diaphaneity
UV Stable Glass Adhesive and Acrylic on Vintage Textile

I'm so excited that this project has finally reached the point of exhibition. It's probably one of the hardest things I have ever done: the nature of the project was so very experimental with no fixed outcome, and yet I had promised to produce an exhibition of new work. Sometimes it was quite daunting; there were times when test after test of the various resins failed and I felt that I might never produce artwork that was worthwhile. But perseverance paid off, and finally results that made me happy began to appear. Now I truly feel I have pushed my practice into new and exciting places: I will continue to explore and expand this body of resin-based artwork, and welcome any opportunities to exhibit elsewhere.

Exhibition of New Resin Works

2012-01-11T11:04:00.000-08:00

'Personal Effects'
Figurative Paintings with Industrial Resins by Ruth McLees
11/02/2012-14/04/2012
Private View 11/02/12 12-2pm

Llantarnam Grange Arts Centre, Cwmbran
http://www.lgac.org.uk/

With thanks to Llantarnam Grange and the Arts Council of Wales for all their support.

Fresh from the Studio

2011-11-07T09:29:00.001-08:00

Fabulous Photoshoot, September 2011

2011-09-23T09:17:00.000-07:00

With thanks to Matt Cant for his wonderful photography and Nicola Wilkes for her gorgeous styling. It was such an inspiring day, and my paintings look amazing.

2011-08-31T11:11:00.001-07:00

August New Work

One of my new pieces arising out of my collaboration with a polymer chemist to explore the use of industrial resins as painting mediums.

The Fabric of Life (or How Commissioned Portraits are Inspired)

2011-08-08T02:56:00.000-07:00

One of the strands of my art practice is the painting of portraits for commissions. I usually have two or three commissions on the go at any time and it's a good way of maintaining some sort of an income from the art. Commissions range from portraits of individuals done through sittings in my studio, portraits of the happy couple taken from a wedding photo, family portraits of children and babies, to corporate commissions for hotels and offices. I'm constantly challenged as no two commissions are ever the same.

Catrin Finch
Royal Harpist HRH Prince of Wales

The thing which I enjoy most about commissions is also the aspect that is the most difficult. Many clients have an idea in their head of how they would like their painting to look. It's up to me to get this information out of their head and turn it into something real and visible. Over the years I have developed strategies to make this process a little easier, but it can still take weeks of sketches, photos and samples before I'm ready to begin the painting process.

Fiona
Private Commission

Luckinly for me I have a starting point which always helps me get the commission going: the patterned fabric on which the portrait will be painted.

Wedding Portrait
Commission in Progress

Life is one long process of collection and selection, purchase and gift. Between cradle and grave we amass a huge range of possessions. We choose the objects that surround us and accompany us through life. These in effect describe us and form part of out identity: they are the fabric of our lives.

I paint on fabric chosen by my subject. This may be an old item of clothing such as a wedding dress imbued with deep emotional significance and memory, or a furnishing fabric remnant left over from the decoration of a new home. Clothes, furnishings, fabrics and patterns provide unique clues as to the identity and personality of their owner. By using vintage fabrics with a past life within my painted portraits I desire to capture a depth of substance and facets of character which paint alone cannot describe.

Jake
Private Commission

I paint the image of my subject onto a panel covered with the fabric. The transparent nature of the paint allows the fabric pattern and weave to remain visible through the portrait, signifying the way in which our likes and choices define us, and thus become an inextricable part of who we are.

I enjoy the interplay of the pattern of a figure overlaid upon the pattern of the base fabric. My ideal commission is a portrait in which my subject is wearing an intricate pattern, and so I will often ask them to wear something of this sort to the sitting. It can sometimes get a little confusing, but I love the challenge of making the various patterns work together in harmony. The use of vintage fabric instead of canvas is also very appealing if my client would like the painting to match the existing decor in their home or office as I can select a fabric to match any soft furnishings.

Emma
Private Commission

Click here to find out more about my commissioning process.

I am the Fittest Artist That I Know Of

2011-08-08T01:37:00.000-07:00

There are so very many artists in the world; it's a tough game making my artwork stand out in front. But then I am tough so that's ok.

Besides making unique, distinctive and beautiful paintings, there's something else that makes me tick... Let me explain.

It's took me a while to pluck up the courage to pursue my dream of becoming an artist. To say the years between leaving school and deciding to pack in my job to take up my dream place on a Fine Art degree course were messy and out of control would be an understatement. But with art came passion, motivation and a will to succeed that I didn't know I possessed. And so the new me was born. But it's tough ditching the old, bad habits. How to deal with the lows of rejection and fear of failure which so often follow on from a creation high? What to do when optimism is brought crashing down with a single word and self doubt threatens to cause self destruction?

The answer was easy: toughen up! For me, I discovered that a strong body = a strong mind. Physical challenges release me from artistic torment and strife and put me in a sane place.

So I guess what I'm trying to say here is that the creative insanity of art drives me to sport, but also that sport and physical challenges feed my art. The sense of pleasure I derive from seeing muscle structure developing on my own body (anatomy for the artist in the flesh!) or on the body of one of my clients (for I am now also a qualified strength trainer with a goal of creating beautiful bodies and passing on my love for fitness and the healing and restorative powers of sport) is another step forward in my ultimate search for aesthetic perfection.

I love beautiful forms and strive to make every piece of my artwork into a thing of beauty. I reckon art should bring about a powerful aesthetic response in the viewer. My fascination is with beauty of form, of line, the beauty of a pattern and the way that various images can be made to interact and work together.

A Lacuna

It's the challenge of making something beautiful from base materials that I love, whether transforming the human body through exercise or transforming canvas and fabrics through resin and paint.

And so my obsessive quest goes on. I have so many ideas in my head and in numerous books that sometimes I feel I will explode. Whenever things get too much for me I go and run or pick up the heaviest weight I can find and this gives me the head space I need to continue painting. I'm constantly anazed by what my body can do, particularly after all those years of being treated so badly. I now have the gym record for female deadlift (140kg) and compete in Crossfit and strength competitions.

Competing in UK Strength and Power Series
70kg one handed deadlift

I'm also constantly amazed by the things I can create. Looking at a painting that's amazing and thinking "I made that," is truly a great experience.

The combination of art and fitness is possibly an unusual one, and I usually get surprised reactions from people in either world when I say what I do, but it works for me. Artists of all kinds are known for being tormented by demons and plagued by creative blocks and perhaps that is what drives us to create. And with so many dubious and unhealthy coping strategies about I feel lucky to have found something that saves me from this downwards spiral without destroying myself at the same time.

Perhaps more artists should give it a go.

Ruth McLees at Oriel Canfas Gallery Photos

2011-06-30T06:35:00.000-07:00

Fibre Art Wales Show at Newport Museum and Art Gallery

2011-06-29T06:49:00.000-07:00

'Fibre Voices', the Fibre Art Wales ten year anniversary exhibition was on show in the Newport City Museum and Art Gallery.

Fabulous work in a fabulous setting. Thanks to everyone involved for making this great show happen.

Work by Michelle Griffiths and Shellie Holden

Gallery View

Ruth Harries (foreground) and Ruth McLees

Laura Thomas (foreground), Alison Mercer and Ruth McLees

Work by Lisa Porch

Work by Helen Foroughi and Bethan Ash

Work by Kathryn Campbell-Dodd

With thanks to Michelle Griffiths and Lisa Porch for use of their photos.

Oriel Canfas Live Music and Art Collaboration

2011-06-16T05:54:00.001-07:00

What flattery! Music has been written about my paintings. Commissioned by Arcomis, the premiere's tonight. Can't wait...

Oriel Canfas Exhibition Opens This Friday!

2011-06-06T11:55:00.000-07:00

Come on guys! I'm looking for people to paint during my exhibition. To be in with a chance of featuring in one of my portraits follow me on Twitter @RuthMcLeesArt and send me a message to say you'd like to take part. You'll need to submit a photo of yourself in your room. The photo must be good quality with a good contrast between dark and light.

Selected pictures will be painted live in the gallery during the exhibition.

See below for more information.

“ROOM TOUR.” PRIVATE MEETS PUBLIC AT ORIEL CANFAS GALLERY

2011-05-25T09:55:00.000-07:00

June 11th – July 2nd 2011
YouTube teen trend inspires my new paintings.

I've got an upcoming show in Oriel Canfas, Canton, Cardiff, in June 2011. Inspired by the YouTube phenomenon of 'room tours', I've taken images of girls from ‘room tour’ videos posted on the internet and painted them on patterned fabric chosen to match the décor of their rooms.

What began as an innocent trend of girls filming their rooms to show their online friends becomes uncomfortable and potentially sinister when displayed in public.

During the course of the exhibition, which runs from 11th June – 2nd July, I will complete a painting live in the gallery. The painting will be taken from a ‘room tour’ style photo: members of the public are asked to submit their own photos via Twitter @RuthMcLeesArt, with the best being used for the painting.

My emphasis here is on working with various materials that contribute a deeper meaning to the artwork and progress my creative process. This work will grow from engagement with my subjects through which I can explore their identity.

When I first discovered ‘room tour’ videos through an article I read in the paper, I was both fascinated and disturbed. On the one hand it’s always fascinating to get a glimpse into someone’s private life; a bit like looking through lit curtain-less windows at night, and so is the perfect subject matter for me to paint. On the other I find the whole idea of ‘room tours’ deeply uncomfortable because of what the implications of baring yourself, albeit innocently, on the internet can be.

For more information, images and to keep track of the progress of the live painting please log on to http://ruthmcleesart.blogspot.com/ and http://www.ruthmclees.co.uk/.

o The private view will be Friday 10th June 6.30-8.30pm. Please Come!

PRESS WELCOME.

o Press Preview Viewings arranged by appointment.

o Oriel Canfas is open Mon-Fri 1-4.30pm; Sat 10.30-4pm; closed Sunday.

o Oriel Canfas, 44a Glamorgan Street, Canton, Cardiff CF5 1QS;
02920 666455 http://www.orielcanfas.co.uk/.

o Ruth McLees work also on show:

30th April-11th June at Newport Museum and Art Gallery

8th June-2nd July at project/ten, 33 High Street Arcade, Cardiff www.project-ten.co.uk/

8th-10th July at Parallax Art Fair, La Galleria, Royal Opera Arcade, Pall Mall, London http://www.barlowfinedrawings.com/parallaxaf.html

St David's Hall Show... Opens this Friday!

2011-02-21T00:40:00.000-08:00

On Friday February 25th 5pm-7pm, at St David’s Hall, Cardiff.

Artemisia

"Maybe the existing forms of art for the ideas men have had are inadequate for the ideas women have."' Susana Torre, 1976

An Exhibition of contemporary Women Artists who practice in Wales, celebrating the ideas they have in 2011

Curated by Ruth Cayford.

Artemisia Gentileschi lends her name to this extensive exhibition, which brings together the work of numerous women artists currently active in Wales. She was not only an extraordinary Renaissance artist, but also occupied a key role in the recovery of women artists’ history begun by feminists around forty years ago, who sifted through centuries of neglect, not only to uncover forgotten women artists, but perhaps more importantly, they identified shared expressions for the women artists yet to come.

Art’s forms and content have not been without issues for women artists, since both had been defined by male artists. It took a further ideological leap for women to shift from battling with exclusion to a positive questioning of approaches to creativity, emerging from a wish to express their differences, differently. That women might re-define art’s practice by exploring what had hitherto been invisible or defined as ‘not art’, produced some provocative work. Stylistic innovation was perhaps not the most important of these differences, the ‘ideas that women have’ most certainly was. It became clear that historical frictions bound in to the two roles - woman and artist - presented them with unique challenges. What has become clearer now, is that these challenges have enriched their work.

Women’s greater participation in art has transformed art, flipping the subtly nuanced labels sometimes used to relegate their work to obscurity in the Fine Arts (charming, decorative, domestic) entirely on their heads. Refusing hierarchies, they have explored (using that old feminist adage) the personal with the political, intimacy with the allegorical, sensitivity with edginess, the fragile with the dark, fantasy with fetish. In short their creative strategies are as diverse and multi-textured as women themselves, and are abundantly evidenced in this exhibition.

The complexity of human relationships, including self-identity, is navigated through memory and fantasy, and is just as likely to be intensely personal as it is universally symbolic. Desires for connection are also explored through responses to place or location, and might reference the landscape of history, or even pre-history, or the personal space of the domestic. The body, that well contested area, is still of immense importance to a number of the artists here, particularly evidenced through performance based art; its potential for ritual significance seems endless. Drawing is clearly immensely valued as a visualising tool, but no more so than stitching, printing, constructing, photographing, filming and mark making from the fragile to the urgent.

But never forget that whilst our recognition of the ideas and creativity which women have brought to art may seem a recent understanding, in truth Artemisia was already there; it is recognised that her intense portrayal of powerful women differed from interpretations by her male peers. The contest we now face, in a time when arts education is seriously threatened, is that of ensuring that the gains women artists have made in the past forty years are never underestimated and continue to influence art. This exhibition is a timely reminder that Artemisia’s legacy needs to be wholeheartedly celebrated.

Sue Griffith.

Head of School of Contextual Studies & Fine Art.

Swansea Metropolitan University.

Featuring Sue Williams, Rozanne Hawksley, Catrin Webster, Di Setch, Dilys Jackson, Virginia Head, Rebecca Spooner, Adele Vye, Fern Thomas, Amanda Roderick, Gemma Copp, Anna Barrett, Jacqueline Alkema, Corrie Chiswell, Becky Adams, Susan Adams, Kathryn Ashill, Kathryn Campbell Dodd, Heather Eastes, Annie Giles Hobbs, Ruth Harries, Penny Hallas, Mary Husted, Daphne Hurn, Ann Jordon, Tiff Oben, Luned Rhys Parri, Jane Taylor, Miranda Whall, Dawn Woolley, Sue Hunt, Rebecca Gould, Eirian Llwyd, Lisa Jones, Nicola O’Neill, Ruth McLees, Bella Kerr, Helen Booth, Jean Walcot, Jo Alexander, Wendy Couling, Su Roberts, Janet Walters and Lisa Tann.

The Exhibition continues until April 9th.

For more information please contact:

Ruth Cayford.

rcayford@cardiff.gov.uk

029 20878706

Jack of All Trades

2011-02-21T00:20:00.000-08:00

Aaaahhh, the life of an artist... Sitting in my warm studio, looking at the view of sea and sky through my large picture window, and with galleries and buyers knocking on my door every day. Great eh? Why would anyone choose to be anything else?

Sadly that dream is usually a little different from reality. Not to say that my work isn't in demand, but the time in between exhibitions and shows can be anything but plain sailing.

I've been having a good ol' think about this, as I've just left an Arts and Business event where I engaged in some full on networking to promote my May exhibition. At least twice I was asked about the amount of painting time I get in my studio each week, and I guess the answer to this is that some weeks I don't get very much at all.

The life of a practising artist is often less about the art and more about the business of art... something I was never taught in art school. There is nothing glamourous about it (well, ok, perhaps the occasional opening night is a little swanky), and there is definitely nothing easy about it. Indeed, the longer I'm an artist, the more I believe that half the battle to a successful career comes down to bloody minded persistance.

There is sometimes sadly very little art making going on in my studio, but instead there is a lot of serious business: marketing, researching, writing proposals, meetings, accounts, admin, packing and posting, the list goes on! Sometimes it feels as thoug my life could be filled with these tasks and I would be completely busy without making any art at all!

At first this can all seem pretty daunting. I wanna be an artist to create! I didn't sign up for an office job! But wait, what's the point of making art if you have nowhere to put it and no one gets to see it? Very few of us would say they had a fulfilling art career if their work never came out of storage. So that's why I ended gritting my teeth and getting down to the serious job of making myself into a one-girl business.

And guess what? I found that I enjoyed it! I'm an artist but I now I am also confident as a business. Let's face it, when looking for work, us artists are often also in direct competition with other arts professionals such as designers and architects, who usually have extremely polished and professional images. How can we expect to be treated equally, no matter how good the quality of the art we create, if we are not prepared to get our image and other skills up to scratch?

So why choose this life?

Do it if you are compelled to make art. Do it if you want to work really hard at something you love. Don't do it if you think it's an easy life or all about making art. Don't do it if you think it's a quick track to fame and riches.

New work for Artemisia show

I love to paint and I love to create so the fact I can work hard and turn it into a career has always been what I wanted to do. But to prove it's not all about the painting, here's a short run down of everything I've done today...

8.20 am. Studio. Design of new work for group show.
11.00 am. Studio. Completion of painting, mirror plating, wrapping and packing of work for this Friday's show, Artemisia at St David's Hall, Cardiff.
12.30 pm. Lunch. Respond to emails, make phone calls.
2.30 pm. Collect painting from framer.
3.00 pm. Deliver work to gallery. Meeting with exhibition officer.
4.30 pm. Writing of proposal for arts based training day.
5.45 pm. Arts and Business Wales networking event.
8.00 pm. Write blog!

Whew! An artist's work is never done! And not even half the day was spent actually painting! There are other days too, when I don't even get to my studio as I'm devising and running projects, workshops and arts training sessions elsewhere.

Are you bored yet? Surprised? Or does this little glimpse into a day of my life give you a new appreciation for the amount of time, energy and resources that actually go into a piece of art that you purchase?

I'm interested in the experience of ather artists too. Perhaps this blog can begin a larger dialogue about what it takes to devote your life to making art. What kind of support do you think is necessary for artists to flourish as viable businesses? How much, as a society, do we value (or not) art and the making of art?. I believe our contribution is critical, and as a society we need to do more to support the path of individuals who dedicate their lives to the tricky business of making art.

Using our Resources

2010-12-15T08:27:00.000-08:00

Last Thursday night I visited the fabulous new pop up exhibition curated by project/ten. Located in the wonderful victorian Morgan Arcade, the exhibition took over some unused solicitors chambers above the arcade.

Seren Jones at project/ten

plus a fabulous fireplace!

The rooms are amazing! Warren-like and filled with dated features, wallpaper and paint tidemarks where walls had been repainted without removal of furniture, they were the perfect backdrop to project/ten's choice selection of contemporary art.

The Gaze (left) and Feeling Too (sold)
Ruth McLees

Even better, though, was the thinking behind the use of this space. For a capital city, Cardiff has very few contemporary art galleries. Permanent exhibition spaces in prime locations are very costly to run and so gallerists either must try to rely on painting sales (and so charging high commission rates to artists) or charge extortionate 'hanging fees' to exhibitors in order to make ends meet. Not great for any of the parties involved, particularly in today's tough financial climate.

So what's the solution?

I've been thinking a lot recently about how best to use the resources already available to us as artists/community in order to realise projects with the minimum of cost. This way there's no expensive outlay or upkeep costs and so projects become sustainable and widely inclusive. Take project/ten's exhibition as an example: the space was already empty and unused and so perfect as a temporary exhibition venue, particularly attractive to the Morgan Arcade as the empty space was filled with attractive art for sale in the run up to Christmas. In addition, project/ten could use the space and then get out before the fallow months of January and February in which galleries make few sales but bills and rent still have to be paid. A wise move.

So here we have it. Arts Councils will have less money to support galleries and exhibitions, but it seems there will still be ways to make such projects and events happen. Think of the unused spaces in your area, the people that you know and the skills they have. What can you offer them in return for their help? All we need is a little resourcefulness and to start relying on ourselves to find solutions as opposed to waiting for handouts so we can make things happen.

The Gaze £900

Ink on polyester resin, polyol and voile

Ruth McLees

Consciousness £120

Graphite on polyester resin

Ruth McLees

Jon Oakes at project/ten

The Scamming of Artists

2010-12-09T06:54:00.000-08:00

No one has any money, right? People are cutting costs, paring down their budgets and ditching everything that isn't absolutely necessary. Or at least that's what the more honest among us are doing in these straightened times. But I've been hearing more and more tales of unscrupulous scammers preying on the unwary just to keep their own pockets lined. And sadly the unwary at the moment seem to be artists.

Take for example the magazine reporter who turns up at a gallery's private view and photographs the event. A lovely spread of pictures then appears in a local publication, and as there has never been any mention of payment, the gallery is overjoyed with the free publicity. But wait... that's not the end of the tale. Years later the reporter has a change of heart and issues an invoice for payment threatening court action, conveniently coinciding with the credit crunch. Could it be that this reporter is now short of cash and preying on what is perceived as an easy target? Without documented proof of any agreement and against a tough gallery owner there's surely no way that the reporter will win here, but the threat of legal action could easily push the gallery to the point of caving in and paying the invoice out of fear just to make the problem go away.

In another such example the emerging artist is struggling to sell enough work to make ends meet. Desperate for publicity and with no spare cash he ends up being given a page in some crummy local paper in exchange for some of his best paintings. He is told the space is worth thousands and he's getting a GOOD DEAL. The advert generates nothing. He now has no paintings to sell as well as no money. The paper who now has the artwork is laughing. No way was the advertising space ever worth that much.

So who's at fault here? The scammers for sure, but the artworld must also wise up! Sure it can be hard making money sometimes, and I've had my fair share of feeling desperation in the past, but come on guys this is the real world. There really is no such thing as a free lunch, and one day you may find your 'freebies' coming back to bite you. Stand up for yourself, and if something seems too good to be true, well, it probably is. I think many artists are seen as easy targets. Business advice in art college is non existant so we have to make it up as we go along and try to hold our own in a tough commercial world. It's time to learn how to be tough, how to say no, how to avoid being pushed around. Don't give your work away for a promise; it's so much more valuable than that!

Christmas at Oriel Ty Coch

2010-12-08T06:34:00.000-08:00

Fab work, fab gallery. Take a look for yourself at the gorgeous Christmas show.

Lots of gorgeous paintings, designer furniture and beautiful decorations and gifts. Oh, and my work looks amazing in the barn-like space!

Come along and see for yourself. And if you really can't choose what to buy, how about a gift voucher so your loved one can commission a painting or choose an artwork for themselves?

Art for Society

2010-11-27T11:13:00.000-08:00

An interesting week this week. On Wednesday I was invited to attend a morning of workshops run by The Travelling Pantry at the RSAW. The Travelling Pantry (great name by the way, but where were the tins of beans...?) is an action research project designed to test whether giving ideas, methods and tools to small groups of people can encourage them to start new community projects. The purpose of the workshop was to stimulate and help new project development. The specific pupose of our day was to look at our area and identify the resources we already have which we could utilise in community and social projects.

I've had a thread of creative community projects running alongside my painting practice for a number of years. Something I've noticed is that the communities with the greatest need for projects (and therefore the ones that receive the most funding) are often the ones least likely to get involved (so therefore the funding is under utilised - I won't say wasted as some good always comes out of projects, but this good should go a lot further). So why is this?

I have noticed a chronic lack of aspiration*(see below), and this hasn't been helped in the past by creative social projects that have come to the area with the aim of helping the residents produce creative work (be it visual art, poetry, dance or whatever). People give up their time and put in 100% effort to create something they are truly proud of, only to find that exhibition of their work is confined to a 'local' setting such as the community centre or church hall. This says, "yeah, your work is great, but not great enough to put it where others can see it." I'm not surprised aspirations are crushed, and that after a string of experiences like this, communities become blase and feel they have better things to do with their time.

So how can this be solved? I guess the obvious answer is to enable communities themselves to create and self- direct their projects so they can be involved in something they truly want and feel is worthwhile.

If we can identify individuals and places that link people together then these trusted hubs can be utilised to get communities involved right from the start.

But how to do this? The Travelling Pantry showed us a great way... mapping. By drawing a giant map and adding in places and people that we felt were hubs we identified so many resources (Brains Brewery was the first... not sure what that says about priorities in the room...). And that's just us... what if community representatives and figureheads were invited to do a similar exercise? I think the potential is limitless and very exciting.

*This lack of aspiration is something I've looked at in the past with my Moving Scenes Project. I used posters displayed in community hubs such as the post office to invite people from my locality of Butetown, a deprived area of Cardiff, to have their portrait painted. The resulting paintings were displayed in St David's Hall, an international venue in the centre of Cardiff, thus giving visibility and status to the people who had been involved. Butetown residents were invited to the opening party, and I was delighted to see many of them in attendance, especially when they were spotted in front of their own portraits! The interest and support I received was amazing and the new partnerships opened many doors...

Invisible Images

2010-11-18T10:35:00.000-08:00

So this week's challenge and absorbing idea is how to create an artwork that's barely there. Is art still great if you can't quite see it? Can art be invisible?

I'm finding the work of Robert Ryman endlessly intriguing: it's the white on white that captures me, with the image endlessly shifting and changing depending on the light and viewing direction.

Robert Ryman
Versions IV

This mutable intrigue is what I'm striving to capture through layering and texture. It's not yet quite white on white or completely transparent but that's where I feel it may be heading... See below...

Sensation of Memory I

Sensation of Memory II

“Can our leading arts institutions say with their hands on their hearts that there is no waste?”

2010-11-16T02:40:00.000-08:00

Excellent article in The Independent – cutting budgets could radicalize culture – allowing for the messages of imagination, radicalism and challenge to be part of the business message, as well as that of the artistic output.

I guess the thing to think about when looking at the Arts cuts is finding a balance between an artist’s/organisation’s creativity and individuality and the need for them to run themselves as a business. Arts funding to date has made available space within which artists and arts organisations have the freedom, time and money to experiment without pressure. It has allowed mistakes to be made and learnt from without monetary penalty, allowing for the development of the individuals or organisations involved and often leading on to future successes.

This is all well and good, and I myself have benefitted for Arts Council grants which have given me the opportunity to experiment and create new work. What I’m feeling at the moment though, is that the funding isn’t so useful when artists and organisations rely on it at the expense of developing their own business skills and real world ability to function, compete and produce.

The funding should be an aid to creativity and innovation and not a crutch to fall back on time and time again for organisations who fail to learn from past (funded) experiences and move their business forward. The Guardian published a debate between leading theatre directors Adrian Jackson and David Parrish. Parrish says that actually cuts in arts funding might even do arts organisations some good. Unlike Jackson who is inclined to think that the cuts will limit what they can do, Parrish believes that it will encourage more innovative and resourceful thinking and it will stop the same things from being done again and again.

Instead of continuing to complain about the cuts, which won’t now change anything, it’s time to start looking forward. What can we do as artists and organizations to ensure we’ll survive? What are we good at? What skills can we learn from business so that we can thrive in the commercial world without constantly relying on funding to sustain us? The arts that emerge from the recession as winners will be respected, leaner, and highly deserving of longevity and success.

Why the Art World Needs the Credit Crunch

2010-11-12T14:06:00.000-08:00

Thanks for your comment Kim... (see previous post). It seems that cash flow problems facing the art world just filter down and it's the person at the bottom of the pile who suffers. Unfortunately this seems to often be the artist. To me, the financial crisis will perhaps in a roundabout way do some good by bringing to light the most unprofessional art organisations and perhaps culling them in a 'survival of the fittest' evolution. With fewer grants to sustain lame organisations, the art world may emerge stronger and more professional as a result. The art world needs to be on a par with business in order to thrive. Perhaps this credit crunch is the thing to finally force the art sector to try harder.

Exhibiting in Hard Times - Who Pays?

2010-11-11T12:53:00.000-08:00

I'd like to recount my major art 'experience' of the week. As a happy recipient of an Arts Council grant for my current project, I booked a local, well established gallery to exhibit it in spring 2011. The gallery in question had agreed to fund the costs of the show in return for workshops, artist's talks and sales commissions, and had set all this out in a letter to me at the project outset, with exhibition dates pencilled into their diary for finalising at a later date.

All went well with the project for the first few months. As I approached the 6 month mark I asked the gallery to confirm the dates of exhibition so I could begin marketing. This is when things started to feel wrong. I was unable to contact the gallery director, and each successive phonecall and email was answered by a different minion. It seemed noone was speaking to anyone else. Each of my requests for confirmation of dates went unanswered, and I was told "according to our files we have had no confirmation of the exhibition dates. Could you please forward us your grant details." When I queried why this was necessary (my funding was for materials and production of work and not gallery costs) I was told, "we are keen to hear of any support available to hold your exhibition. Can you give details of sponsorships, printing materials and work in kind? I am afraid like all other galleries around the country we are financially stretched..." So the gallery had performed a massive U-turn, going back on its original offer (as set out in a letter to me prior to the project start). Nowhere before had they mentioned that they would be asking me for additional payments from me for the use of their space.

Now I was told "when we wrote you the letter of support in March 2009 we were hopeful that the Arts Council would recognise the role of our gallery in providing premium space for contemporary artists... This funding has not been made available to us and as a result offering marketing and publicity,
technical assistance, invigilation and a prime gallery area is no longer possible... The board... has at a meeting decided that generosity of this kind, which requires staff here to work for little or nothing at all, must be redressed in the interests of future sustainability. Therefore we must ask you to provide some form of support funding... a minimum would be £500."

O.k., fair enough, you're skint, the whole of the country's skint and we're all struggling to survive. But don't you think that it would have been courteous to make me aware of the fact that you had decided to charge me, rather than surprising me with the information 2 1/2 months before the show was scheduled to open?

And the icing on the cake came when I was told by the gallery that the reason they wanted me to pay was because "it seems unlikely that this will be a selling exhibition."

Bearing in mind that I have been making a living from my paintings since 2004 (see gallery) this is a completely unfounded statement, which seems to have the sole purpose of adding insult to injury. If the gallery believes it cannot sell my work, why did they offer me the show in the first place (seeing as they'd take 40% of any sales)? Why do they think that if they tell me they can't sell my work that I will then decide to pay them for my exhibition? It doesn't seem like a wise use of my money to me!

I know times are tough for galleries and artists alike, but surely that's not a reason for going back on an agreement? Galleries requesting that artists pay for their show should make this clear at the outset and not wait until the show is imminent before demanding cash. In general we artists don't have large sums of money lying around; we need to budget for any payments to galleries at the outset of a project. It seems unfair that I'm being penalised by the gallery for not having enough of a grant to distribute around.

So I've decided to cut my losses and to abandon this exhibition. With half a new body of work created I'm going to search for somewhere else, preferably a venue that's prepared to fund my show in order that I can fulfill the Arts Council criteria for the grant I've already received. Otherwise it's back to the drawing board and hoping that David Cameron's right and I can look to private or corporate sponsorship to help me out... Will keep you posted...

Last Minute Christmas Gifts

2009-12-17T02:53:00.000-08:00

I'm feeling smug today cos I've nearly finished all my shopping for Christmas... but just in case...
In a panic? Rushed off your feet? Loads of Christmas shopping left to do and no idea what to buy?

Relax!

Just take your pick from one of these perfect gift ideas…

Portrait Gift Vouchers

The perfect present for the person who has everything! Give them a Portrait Gift Certificate on Christmas Day which they can exchange for a bespoke commissioned portrait. They can choose the subject, style and colours of their portrait, and can commission it whenever they are ready.

Gift Vouchers start at £80 and can be bought for any amount – you choose! Vouchers can also be used as part payment against the cost of a larger painting.

Example prices for gift vouchers are as follows:

21cm x 29cm £80

30.5cm x 24cm £100

36.5cm x 26.5cm £140

39cm x 27.5cm £170

42cm x 29cm £200

46cm x 34.5cm £250

50cm x 40cm £300

55cm x 42cm £350

59.5cm x 42cm £400

Completed portraits are painted on canvas stretched over a wooden support and supplied ready to hang. They look great without a frame, but framing can be arranged if required (this is not included in the voucher cost).

The gift voucher will be posted directly to you ready for Christmas.
The vouchers don’t have to have the price printed on them; if you would like to hide the total amount you are spending on the recipient this can be arranged.

Pet Portrait Vouchers are available too!

For further details and to order please ring Ruth on 07974 955824, email info@ruthmclees.co.uk or text ‘voucher’ to 07974955824 to request a call back.

Limited Edition Prints

The perfect present for any budget.

These prints are only made in Limited Editions of 200. They are Archival Giclee Prints on Fine Art Paper. Each print is hand signed and numbered by the artist.

The following designs are available:

Pixelgirl One

Pixelgirl Two

Magnetic

Viewer Voyeur

Unframed Prints 30.5 x 24cm (12 x 9.5in) cost £45

Unframed Prints 50.5 x 40.5cm (20 x 16in) cost £65

Framed Prints 30.5 x 24cm (12 x 9.5in) cost £90

Framed Prints 50.5 x 40.5cm (20 x 16in) cost £150

For further details and to order please ring Ruth on 07974 955824 or email info@ruthmclees.co.uk

Original Artworks

Please visit http://www.ruthmclees.co.uk/ to see the full range of original artworks available to buy in time for Christmas.

Sensation of Memory I

Pencil and ink on layered polyurethane resins

22.5 x 17cm

£70

Sensation of Memory III
Charcoal and ink on layered polyurethane resins
22.5 x 17cm
£70

The New I

Acrylic on upholstery fabric remnant
24 x 34.5cm

£180

The New II

Acrylic on upholstery fabric remnant

24 x 34.5cm

£180

For further details and to buy please ring Ruth on 07974 955824 or email info@ruthmclees.co.uk

Arts Council of Wales Production Grant Awarded

I am delighted to have been awarded a Production Grant by the Arts Council of Wales.

This grant will enable me to produce new work for a series of exhibitions in 2011… Watch this space for details!

Wishing you all a Merry Christmas and a Happy and Prosperous New Year!

Special Gifts for Christmas Time (already)

2009-11-07T08:12:00.000-08:00

Family and Pet Portraits for Christmas

I am now taking bookings for Christmas Portrait Commissions.

I am an accomplished portrait artist with over 14 years experience in painting portraits for clients worldwide. I specialise in beautiful hand painted portraits and pet portraits in acrylics upon textiles. You can choose to have your portrait painted upon vintage textiles to match your home décor.

The Full Package. If you are looking to commission a portrait of a pet, family or even a film star I offer the full package. All I need is your favourite photo and I will do the rest! I can provide you with hand painted portraits along with a traditionally crafted framing service and prints of your portraits all delivered safely to your door worldwide.

Prices for a painting 8 x 12 inch/21 x 29 cm start at £80.

For further details and to book please email me: info@ruthmclees.co.uk

Recent portrait commissions

The delicate pattern of flowers seemed to somehow balance perfectly with the image. Possibly the contrast between man and flowers is what makes the image work.

Pretty pretty! These kids were so lovely to paint!! I used a pale blue textile with rose buds as background.

I also have Gift Vouchers for portraits available to buy for Christmas.

Many of my portraits are purchased as gifts for friends and family. Due to demand I often work on an 8 week timetable and this doesn't always coincide with my client’s deadlines for Christmas, birthdays, anniversaries, weddings etc.
So I have high quality gift certificates with envelopes printed to give to the recipient on their special day. This is accompanied by commissioning information for the recipient to read and look at.

The vouchers don’t have to have the price printed on them; if you would like to hide the total amount you are spending on the recipient this can be arranged.

Gift Vouchers for a painting 8 x 12 inch/21 x 29 cm start at £80.

For further details and to book please email me: info@ruthmclees.co.uk

The portraits can be on a more traditional background. The choice is up to you.

Exhibition Launch...

2009-11-06T08:00:00.000-08:00

...It went well considering I had forgotten that last night was also bonfire night! However pretty happy as all the attendees were quality! And the long and sticky process of selling new work has begun!
Another launch to go to tonight, this time of a charity exhibition at Swansea Museum including a painting of mine with all work auctioned off at the end of the month.
Catalogue link below...

http://publications.2evolv.co.uk/?userpath=00000082/00012581/00047199/

Thinking of organising an artist's talk for the Waterloo Teahouse exhibition as I guess this will help to get more people excited... oh, and workshops too. Promotion opps are exhaustive and exhausting!!

Ruth McLees Art Exhibition at Waterloo Gardens Teahouse 2nd – 30th November

2009-11-04T07:16:00.000-08:00

Ok, this post is all about me, me, me and the things I have to offer you!

Firstly...

I would like to invite you to an exhibition of my new work, small prints and paintings at Waterloo Gardens Teahouse, Penylan, Cardiff, CF23 5AA. The show will be officially launched with a wine and cheese reception this Thursday 5th November 6-8pm.

My new work grows from a constant search for glimpses of beauty amongst the everyday. I am fascinated by the beauty and pattern of human form, of facial expression, light and shadow and of the adornments we choose to surround and decorate our bodies. Clothes, furnishings, fabrics and patterns provide unique clues as to the identity and personality of their owner; they are the fabric of life.

This exhibition grew from faces seen in and around Cardiff on streets, in shops and bars and on advertising billboards. Highly experimental, employing resins and varnishes as well as paint, these works include portraits painted upon fabric chosen by my subjects; sometimes an old item of clothing such as a wedding dress imbued with deep emotional significance and memory, or a furnishing fabric remnant left over from the decoration of a new home. By using fabrics with a past life within my work I desire to capture a depth of substance and facets of character which paint alone cannot describe.

Please come along to the launch for a glass of wine and to see the show. All commission taken by Waterloo Teahouse for work sold will go to charity.

Please also visit http://www.ruthmclees.co.uk/ for more details.

17th March

2008-03-18T15:23:00.000-07:00

Working on new paintings in my studio is a welcome change from the paperwork that seems to have plagued me since Christmas. It's all very well calling myself an artist, but i'm scared by how admin takes up so much of my precious creative time and brain-power!

My beautiful website www.ruthmclees.co.uk is proving to be a bit of a thorn in my side too as the company that made it seems to have disappeared, taking with them vital details that prevent me from updating it... A plan of action is needed... Watch this space!