In Process, Composition in Green, Pink and Orange

Green Pink and Orange - oil on linen panel - 7"x5" - sold

I had been meaning to show you just how abstractly the initial laying in of the compositional elements of my paintings can be. The main or 'local colour' of each object is described by just placing it in its 'correct position'. Working this way gives me an overall feel for the way the painting will read in a matter of seconds.
Just some fluid gestures with the brush initially supersedes this - this gesture might indicate to me the concept of how the light might flow over the various objects or where they might begin and end on the canvas.

Here is an image of the piece in it's final stages. All the marks I make from start to finish are relative to the other, so at this stage I am just pushing or subduing  the colours until I have what I want. 

I'll post an image of the finished piece in the next few days.

- Richard

Blue & White with Orange

Blue & White with Orange - oil/panel - 5"x5"

Worked a really loose and direct application with this piece, laying down single strokes of
colour in their correct place. It's simple as that!

This painting is reserved for a coming exhibit in 2013.
If you are interested in pricing for this piece, or any work marked reserved please email,
info@richardhearns.com

Table of Ceremony

Table of Ceremony - oil/panel -7"x5" - sold

Just spent the day cleaning a dust covered alter of Buddha statues and amulets at my wifes family home in Bangkok. So thought this an appropriate sketch in oils to post today.

The painting is made with a very direct and definite, but loose and gestural application.

Detail below from 'Table of Ceremony'

This painting is reserved for a coming exhibit in 2013.
If you are interested in pricing for this piece, or any work marked reserved please email,
info@richardhearns.com

The Asian Cup, and staying Creative

 

Asian Cup - oil on linen, mounted on panel - 12"x9"

For the past number of years I have been working consistently on my paintings. Many good friends, including artists, have said to me during conversations, that I should take a break! I rarely do, feeling that it is more important to be continually holding a brush and making paintings. After all, it does not feel like work to me - more a need fulfilled. I am sure that 99.9% of the time inspiration comes through work, being in that creative space of silent doing. More often, it comes from the amazing dialogue you form as an artist between yourself and the painting in process.

Over this past week or so I have been using collected references and various found objects to make paintings. Most of the time I use these paintings of still life objects just to keep my hand in it, so to speak. I have learnt a great deal from making fluid studies after painters like Gregg Kruetz , with whom I painted with in New York, and his teacher David Leffel. But I have had this nagging feeling for the past while to get my notebook out again, and to begin experimenting more. I have also felt the need to get back to some sound and video work too. I think as an artist, and after a recent meaningful,and welcome conversation with a friend, (over a drink or two), that we should, as artists, continue exploring all our creative avenues, as they inform and help the development of the other.

Working towards deadlines for shows has been great, and really important for me, as it holds a focus. But there needs to be some more 'play' too! The gift of not having to do many commission related works has freed me to just take on the paintings I want to make. I believe this helps me develop faster. And I need to use this freedom to better advantage. Allowing my daily inspiration to be listened to, and acted upon! Thats what I must keep my focus on - that concept, that moment of inspiration. I feel so lucky to have the time and means to be able to do this, to be able to listen to, act upon and develop these daily inspirations.

Thanks to all of you, who continue to support, and point the way for me.

- Richard

Below a detail from 'The Asian Cup'.

This painting is reserved for a coming exhibit in 2013.
If you are interested in pricing for this piece, or any work marked reserved please email,
info@richardhearns.com

Pear with Grapes and Bowl

Pear with Grapes and Bowl, (composition in Green and Red) -oil/ gesso panel
Tribute to Leffel, Kreutz and Rembrandt.

Below is a detail to give you an idea of the texture, application of paint and variation of brush work in these pieces.

This painting is reserved for a coming exhibit in 2013.
If you are interested in pricing for this piece, or any work marked reserved please email,
info@richardhearns.com

Weighing Scales

Weighing Scales -oil/panel - 12"x9"
This painting is reserved for a coming exhibit.
 For pricing and more information on paintings like this please email, info@richardhearns.com

My evenings here in the mountains, close to the Burmese/Chinese Thai boarder, are spent painting out on the balcony of my room. To be honest, the landscape here has just felt so overwhelmingly beautiful I just don't know where to start with painting, and have felt content to take photos as I left my plein air easel in Bangkok.

So, in the evenings, after my travels and explorations of the surrounding areas, I have been enjoying working with still life objects, and from collected reference.
It is so relaxing here! The villages are so charming, and as the sun sets the sweet smells from the various local restaurants and food stalls situated outside of peoples homes, remind me to put my brushes down and begin on a culinary trek!


When creating a piece like this I am thinking a lot about my time spent at the Art League in New York City.
The studio I worked in there was lite by natural light, which streamed in slowly and diffused through the skylight windows over head. This atmosphere of light was magnified by the cold winter mornings. It was a magical experience to see the set up and stage come alive, as the light fell over the various assembled objects. It's an experience that has never left me, and I can summon that atmosphere and flowing movement of light to help orchestrate a painting like this, even if the lighting is not exactly as I may want.

- Richard

The Tomato Basket

The Tomato Basket - oil/panel - 12"x9"
This painting is reserved for a future exhibit, for pricing on works like this please email, info@richardhearns.com

Over the past few years I have been influenced and inspired by many 19th century paintings.
During my time earlier this year, at the Art Students League of New York, I really got to explore some of the ideas around creating paintings of this genera in advance of my exhibit there.

Over the last couple of weeks, and since arriving in Thailand, I have been revisiting some of the ideas developed in the League studio.

The afternoons in these rural agricultural villages such as Maesarong, which is situated in the far north reaches of Thailand, on the Chinese/Burmese boarder have been spent setting up and painting Still Life from life and collected reference. Looking forward to share these pieces with you over the coming weeks.

- Richard

Meeting Thomas Ryan and documentary at the RHA

A couple of months ago I had the opportunity to visit the artist Thomas Ryan at his family home in north county Dublin. Thomas is a past president of the Royal Hibernian Academy PPRHA, and just last week a short video documentary which features Thomas and his studios at home was aired at a gallery in the RHA on Ely Place.

His home and studios are full of paintings which range from Still Life to Interior, Landscape and Portraiture.
One of the large rooms was literally packed with works from ceiling to floor with an adjacent store room packed to the rafters! I could have spent days working my way through all the work, but Boo was with me and Tom probably would have kicked me out at that stage anyway!

I particularly like Tom's moody interior paintings, which are little known by the general public and collectors. He would be most recognized, in a commercial sense, for his small intimate paintings of single roses, with a soft and scumbled application.

I look forward to catching up with myself here in Thailand as regards posting on my blog, and getting to show you some of my recent paintings which have been revisiting my interest in 19th century painting, and what I learnt during my time at the Art League of New York.

If you would like to follow my journey here in Thailand via my photos you can visit my facebook page.

At MOCA

Today I visited the newly built Museum of Contemporary Art in Bangkok.
This incredible museum space and collection is a much welcome resource to a city bulging with malls and food courts. Bangkok has been missing a well curated Museum, as my previous visits to the National Gallery and the 'Queens Museum' left a lot to be desired, to say the least.

I look forward to explore this museum on each return to BKK and will tell you more about it and its inception in the near future.

PJ Lynch Workshop at the RHA and life in BKK

Last week I attended a painting workshop at the Royal Hibernian Academy given by the renowned illustrator PJ Lynch . PJ is an amazing artist, writer and illustrator, and a wonderful communicator. I would recommend to anyone interested in improving their painting to keep an eye out for any workshop given by PJ.

The theme of the workshop was figure painting, with an emphasis on dramatic lighting.
We started each day with a different model beginning with quickly drawn gestural poses and gradually worked our way up to 'a painting sitting', which lasted a couple of hours. The models poses were evocative and costumes brilliant. And the way PJ controlled the lighting was great, as all to often at life drawing sessions the poses are boring, and lighting diffused and unfocused.

Here is a link to PJ's website. Christmas is coming soon, and anyone who has children or nieces and nephews should consider getting a copy of one of PJ's beautifully illustrated books. They are timeless and beautiful.


Myself and Boo arrived in Bangkok, Thailand three days ago, and have been busy catching up with friends and family and reintroducing ourselves to all the wonderful food and culture here. Between all the eating and sightseeing I have managed to work on a figure painting of my father, which I began at home the night before we left for Thailand.

While out for food and drinks with friends last night I found out to my delight that MOCA, the long awaited Museum of Contemporary Art in Bangkok has been opened. I can't wait to visit.!

Sending best wishes to all from Siam! - R

Self Portrait with Palette

Over the next few months I am going to hold off on posting images of the paintings I have been preparing for my next New York solo show in April 2013. I have quite a few finished pieces and works in progress for this show photographed, but will wait till sometime in late February or early March to share them with you.

On Wednesday morning myself and Boo leave for Thailand for three months. I am really looking forward to catching up with friends and family, the change of culture,  a different pace and of course the warm light. While there I plan to work on observational still life and landscape paintings, as well as some figurative studies.

I will try to post images and updates at regular intervals, say once a week.

Above is a detail from a recent self portrait I made. It contains a wonderfully rich application of paint, fluid gestural brush strokes and a strong focus.

Great News - The Ib Jorgensen Gallery

I received some really great news last week that I wanted to share with you all.

My paintings are to be represented by the Ib Jorgensen Gallery, which is one of the foremost established fine art galleries in the country.

I am truly honored to represented by Ib and Sile Connaughton Deeny (an Art Historian), and excited to work with them both into the future.

The Jorgensen gallery continues to represent the works of many of Ireland's most interesting and renowned artists of the past and present, as well as a selection of established European artists. I consider myself truly lucky and gifted to be seen in the same space as many of these artists at this stage in my career.

The Jorgensen Fine Art Gallery is now located at 14 Hibernian Way, just off Dawson Street, Dublin 2.

Lone House

Lone House, 2012 - oil on linen canvas - sold
Private Collection, Connecticut, New York

This quite startling house was for me, an image of abandonment and loss. Its quiet modern design sits incongruousness in the surrounding landscape. I felt it carried this tremendous felling of desolation and loss. A desert plain of absence.

Horse and Rider, Fanore

Horse and Rider, Fanore - oil/panel - 7"x5"
Composition in yellow and purple.

Majestic Cluster

Majestic Cluster -oil/panel - 7"x5"

Path through a Tree Grove

Path through a Tree Grove -oil/panel - 7"x5"

Another recent plein air sketch in oils. Below is an image of this study in its frame.

Wild Birch, Burren

Wild Birch, Burren - oil/panel - 7"x5"

I realize its not the best time to be posting images of upright trees, considering the havoc Super Storm Sandy is continuing to cause on the east coast of the United States. But I just couldn't resist this composition which was painted along one of the quiet green roads close to where I live in the Burren. This cropped composition consists of loose paint strokes depicting just wall, tree, sky and a hint of the limestone landscape.

Windblown Tree, Ballyvaughan Pier

Windblown Tree, Ballyvaughan Pier - oil on linen - 12"x9"

This is the second time I have returned to this place to paint.
There exists a palpable energy to these trees that cling onto the wall of the pier.
The light here can be amazing, and quite dazzling at times, as the differing weather blows in from the Atlantic.

Braving the changing light and weather is just a couple of the many challenges that direct outdoor painting presents. I enjoy embracing those challenges.

Special thanks to Cliff and Ann from Washinton D.C for sending me on this photo of me a work.

Close to Green, towards a Forest & Article

Close to Green, towards a Forest - oil/canvas - 14"x10"

p.s this wee article was recently dropped in the door by my neighbor.

Over Sheds, near Fanore

Over Sheds, near Fanore - oil/canvas - 14"x10"

Trailer

 

Trailer - oil on canvas - 12"x10

Iridescent Vibrations

 

Iridescent Vibrations,  - oil on canvas - 12"x10"
with red roof and window.

Refraction

Refraction -oil/panel - 7"x5"

Bath by a Shed Wall

 

Bath by a Shed Wall - oil/panel - 7"x5"

For purchasing please email, info@richardhearns.com

Two Barrels

 

Two Barrels - oil/panel - 7"x5"

For pricing info please email. info@richardhearns.com

Gable Wall

 

Gable Wall -oil/panel- 7"x5"
Available for purchase, please email, info@richardhearns.com

Over the next couple of weeks I will post up some smaller oil studies like this piece.
Have had the chance to create quite a few of this smaller observational paintings during the last couple of months. It's brilliant to get out with these small panels, and search for my subject.
When I get home and return to work in the studio I always feel 'all warmed up', refreshed and ready to paint.

Nocturne

 

Nocturne -oil/panel - sold

Will post more of these small intimate studies in oil of the coming weeks for you to see.

A Ballyvaughan Story

Wanted to share this short animation piece which was created by Sara Pocock, who spent time as a student at the Burren College of Art here in Ballyvaughan. This beautiful short, about the Irish War of Independence, which won a prestigious award in Los Angeles, is narrated by Jim Hyland, a native of Ballyvaughan, who is now in his late seventies, and whom I have gotten to know well and become good friends. Jim's family have lived here for over eight generations, and as you can image he has many stories to tell about the area and surrounding villages.

I am also in the middle of digitizing a wonderful radio interview of Jim, entitled 'Ballyvaughan Life',
and I hope to upload and share it with you all soon, so as to give you a favour of the village I live in here.

- Richard

Monk's Cottage

Monk's Cottage - oil on canvas - 40"x30" - sold
Private Collection, New England, USA.

Images below are Details from 'Monk's Cottage'.
Click on images to view enlargements.

Below, working on the piece, 'In situ'.

The Set Dancers Cottage

The Set Dancer's Cottage, (Mick Cruachan's Cottage) - oil on canvas - 26"x25"
Private Collection, Greenwich, Connecticut.

Mick Cruachan's cottage lies just around the bend in the road on the outskirts of Ballyvaughan village. It is a scene I have returned to three times now! The strongly pronounced Turquoise colour, (which is set off by its more somber lightly coloured surroundings), must have been 'on special' when Mick bought the buckets of  it to paint his house.

Mick, who was a renowned set dancer in his day, passed away this year. The cottage exterior and interior has now been stripped, and is in the process of being renovated. There exists now only small patches of the turquoise colour. I feel lucky to have had one last chance to capture, in paint, this landmark cottage in Ballyvaughan.

Below is a sketch I made of the cottage a couple of years ago.
This sketch in oil is - sold.

At the Easel

 

(Above) A work in progress, Monk's Cottage, near Ballyvaughan. Richard Hearns 2012

 

(Below) A shot of my easel 'in situ'.

 

Nilan's Ruin

Nilan's Ruin, (Composition in Purple, Blue & Yellow) - oil on linan canvas - 41"x31"

 

The photo above is an image of this painting in it's final stages.

Below is a shot of me at work on the piece a week or so ago.

 

For reserve and purchase please contact, info@richardhearns.com

 



Shelter

Shelter - oil on canvas - 30"x18" - sold

I am an artist, creating impressions. My work is not in the realm of realism, but my paintings are more like concentrations or abstractions. I filter information through my nervous system and present a personal distillation of my reality. I want to make work, create new beautiful things each day and continue to discover. I want to arrive at solutions. I want to dissolve all problems and arrange a pictorial harmony. I want to create strong compelling works of art.

(detail below)