Bath Saturday Antique & Flea Market, Bath, 6" x 8", Oil on Gessoed Mountboard

Bath Saturday Antique & Flea Market, 6" x 8", Oil on Gessoed Mountboard.

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This is one from my Bath Marathon Series. I never expected to see an Antique Market on the morning I painted this but once I launched out and caught a sight of it, that was it!

Adebanji painting the Bath Saturday Antique & Flea market

 I really enjoyed  the colours of all the top of the stalls-together they looked like a collage of coloured shapes.

SPECIAL QUOTE
"The experience of painting outdoors in the City is immense, people are watching and they know if you have done justice to the scene"-Adebanji Alade

Urban Shadow Highlights VI & VII (Bath Marathon Plein Air)

These are the final two paintings from my retrospective series of 7 paintings that emphasize the beauty of shadows and raking highlights in an urban setting. All the paintings in this series were done en plein air (outdoor) in Bath.  Because it was a great task of finishing these 212 paintings under a short period of time I called it my Bath Marathon, because it stretched me to the limits but I learned so much about myself, my style and and how I go about my work in many different ways that I would never have known if I didn't embark on this project. It was a life changing project!

Number 6

I remember painting this piece and a guy told me he owned a Peter Brown drawing of the street. He advised me not to put cars in this painting. He said if I didn't put cars in this one, the piece could look like a painting done in any period of time in Bath. I bought his idea and  for once I didn't put the cars. But I love cars and I think they give the scene as sense of contrast between the organic and inorganic and it also makes the paintings very much contemporary in nature.

The guy also gave me a nice cup of coffee and I still have the mug he gave me till this day. It's one of my souvenirs from Bath.

Urban Shadow Highlights VI (Upper Church Street without the cars), 6" x 8", Oil on Board SOLD

The painting with the street ahead

Picture of the scene

Number 7
 One of my best streets in Bath! It's a bit "sloppy/hilly" and has very interesting parts that make it a treat to paint on a Saturday afternoon with people constantly walking back and forth.

Urban Shadow Highlights VII -Bartlett Street, 6" x 8", Oil on board- this was one of my best pieces during the whole series because I just went out with such boldness to capture the light and I just loved the different parts and pieces of architecture and shop fittings and boards- which made the piece very abstract in nature. Another reason why I like it had to do with my paint application, it just seemed to bounce on this particular day!

 

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This picture was taken by one of the women who works in the residential lettings on the other side of the road, she said she had watched all the way through from beginning to end and just couldn't wait to come out and have a chat with me about the process.- I had to start using these safety gloves because of some internal joint aches I started having.

The pic of the scene

SPECIAL QUOTE
" Work as hard as you can on learning something that takes you out of your comfort zone while doing plein air pieces. It could be as simple as doing a test painting in 30 minutes just based on the light and shadows with no details. It could be real warm up exercise for your development.-Adebanji Alade"

Urban Shadow Highlights V (Bath Marathon Plein air)

This is number 5 in the current  retrospective series of paintings that show the effect of light and shadows in urban space. All these paintings are of streets and places in the City of Bath. It's a wonderful city and the sand stone buildings are always beautiful under the light!

Urban Shadow Highlights V, 6" x 8", Oil on Board

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A lot of people ask me what my  main aim is, when I  encounter a scene I like. The main thing that runs through my mind is to simplify! Just say to yourself- How can I simplify what is in front of me- fewer strokes, fewer colours, this is where the ability to sketch comes in handy! I always see myself as a sketcher in colour, when I paint! I try as much as possible to edit everything that isn't necessary and I make up my mind about this as soon as I get there when I am sure I am going to paint a particular scene.

Just managed to get a picture before the large lorry blocked my view!

picture of the scene- you can see from the picture that there's just too much information. I only need what interests me! The light and a few other complimenting components. The rule is simplify, simplify, simplify!

SPECIAL QUOTE
"Attempt anything that catches your eye! It's only then that you'll discover the real thrill of painting outdoor!"-Adebanji Alade

Urban Shadow Highlights III and IV (Bath Marathon Plein Air)

This is a  Retrospective Series  of some selected paintings from my Bath Marathon highlights the effect of shadows and raking light in urban space in a modern city.


This is number 3 of the series!
Paintings bring back strong memories and I can vividly remember hunting for a place to paint in the morning when I discovered this place. I basically went wild with the painting application and painted like a pig eats-just to capture the subtle beautiful light around the buildings. Most of my paint was diluted with liquin for fast drying and rapid stroke effects. A very good and bouncy synthetic long flat brush is also vital! I just love this painting!!! That little lone figure in yellow was the highlight of it all! 

Urban Shadow Highlights III-Raking Light, Old Orchard Street, 6" x 8", Oil on Board

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That's the set-up and the painting on my pochade. Sometimes there's no one to take me pictures, so I take them myself and they end up looking a bit awkward.

Picture of the scene- no where near what I saw-this is the fragility of the lens at times!

This is number 4 of the series!
This particular painting reminds me of Chapel Row Gallery- I had just finished a little portrait in pencil during their open day for any one to sketch there, when I got outside and notice this beautiful light hitting the building on the right. I immediately went for it! I must confess, sometimes, I almost forget everything about drawing when trying to capture the light!

Urban Shadow Highlights IV- Up chapel Row towards Queen's Square, 6" x 8", Oil on board

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That's my cool spot where I snapped myself after the painting was completed.

Picture of the scene- The camera couldn't pick the dramatic perspective that led the eye up the hilly road.

SPECIAL QUOTE
LIGHT is beautiful! Light changes everything! Lets walk in the light- but not forget the shades!-Adebanji Alade

Urban Shadow Highlights II ( Bath Marathon Plein Air)

Urban Shadow Highlights II- Raking afternoon light, The Podium, 6" x 8", Oil on Gessoed mountboard SOLD- I was really interested in the light but also the explosion of figures moving back and forth, it added another dimension to this little piece.

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This is the second piece in the series of Urban Shadow Highlights from my Bath Marathon of paintings.

I got myself a spot where I had enough shelter from the harsh sunlight.

Picture of the scene-  Once again I like to show the picture because it shows how painting only from pictures can be really deceiving! The ability to interpret the scene when one experiences it right there and then is priceless! I am not saying don't paint from pictures, I do myself, but it's good to combine this with a few outdoor exercises. 

SPECIAL QUOTE
"Imagine, explore, experiment, discover, develop-just make sure you are progressing with your pursuit of painting"-Adebanji Alade

Urban Shadow Highlights I, 6" x 8", Oil on gessoed mountboard (Bath Marathon Plein Air)

Looking back, I have chosen 7 works from my Bath Marathon of paintings which Highlight Shadows and Raking Light.

This is number 1 in the series- it was painted with an evening back-lighting at Widcombe Parade, Bath.

Urban Shadow Highlights I-Backlighting Widcombe Parade, 6" x 8", Oil on Gessoed Mountboard

 
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This particular Series highlight the effect of shadows and raking light in urban space in a Modern City.

The painting in progress- It was one of those afternoon's that a plein air painter longs for. Wonderful warm evening light glowing and casting beautiful long shadows on the pavement!

I love the interaction of light and shadows in urban space and this is what the emphasis of these 7 paintings are. I'll be posting them in the next few days.

Picture of the scene- You'll notice clearly from the picture, that if I was to paint from this picture I would have missed out some wonderful warm colours that can only be experienced while at the scene, the camera can't pick those bits!

SPECIAL QUOTE
There's nothing like experiencing the scene right there and then!-Adebanji Alade

Seasons Change, 2 x 8" x 10", Oil on board

This piece just reminds me that seasons change.

This was painted at Westfield park, Upcerne  Road, Chelsea.

Seasons Change, 16" x 10", Oil on board (2 Separate pieces)

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I really enjoyed the feeling of painting this at different seasons. I hope to continue this with another scene.

That's me during the winter season- the best time to paint!!! No light changes.

SPECIAL QUOTE
"Whatever season you are in now, just remember that it is not permanent"- Adebanji Alade

Plein Air Painting of MV Bolgen & other Boats at Cadogan Pier

MV Bolgen & other boats at Cadogan Pier, Chelsea Embankment, 18" x 10", Oil on Canvas Board, 2012-picture taken with my  I-Phone-sorry about the quality.

This morning I embarked on painting one of my beloved scenes around the Chelsea Embankment. A walk along the Chelsea Embankment is one of my best walks in London and it's always great to paint a place one loves.

Adebanji painting the MV Bolgen and other boats along Cadogan Pier, Chelsea Embankment

Here in this post I have decided to share some "stage shots" of the painting in progress. It's not a step by step procedure but just a good way of seeing how I go about these pieces using the "inside-out" technique of painting shape by shape, from the inside of the painting till it spreads all over to fill up the surface.

1. Ready to go, The Canvas board is given a warm wash of Burnt Sienna, this was already done in the studio with acrylic.

2. The very important grid lines and diagonals-this helps me position the main  features exactly where I want them

3. With some careful strokes laid with some precision but with the mind of an impressionist, I sketch and paint at the same time, working on the boring buildings in the background first, and then coming closer to the boats.

4. I think here-I had finally got the hang of the buildings and then I began to gradually come lower into the middle area, where most of the action takes place. 

5. At this stage I got the first few strokes of the water in, and a few reflections, the water keeps changing, it's always better when it is still.

6. I am really deep into it now, working on the reflections and trying my best to nail the right colour of the murky River  Thames on a grey day.

7. And finally- it's details and pulling the whole piece together, I hadn't made up my mind on whether to stop-then the rain came to my rescue and that was it for the day!

Hope you enjoyed this-I always have fun looking over the palettes of other artists-it's always a treat!

SPECIAL QUOTE
"The tide was in and the creek glassy, so I met the Mayor of Kingsbridge, who was off to paint his boat and a man who quizzed me- not the first time- on the build quality of my box easel! He was a joiner and was redesigning one-god, did I get excited! We exchanged emails and I never heard from him again!-(Peter Brown on one of his experiences while painting "Salcombe down from Southpool Creek")

The Making of Rain, Reflections and The Lady in Red

Rain, Refections and The Lady in red, 8" x 10", Oil on Board. 

This is a little 8" x10" painting I did a while back and posted under the title-The Power of Red-of a wet London scene. Every now and then apart from posting the work I do or work that I am currently working on. I also like to share the stages I go through to produce some of these paintings. This particular painting was painted entirely from a photograph, all in one sitting, to keep the paint fresh and not overworked, just as if I was painting outdoors.  It's not a step by step demonstration, I really don't believe paintings can be absorbed through a step by step procedure. These are just pictures I took at different stages of the painting while in progress.

Stage 1- I have done a precise grid of the painting surface. I used the Accurasee  software to do this. The grid lines are done in coloured pencil, then fixed. After which I have sketched in a blue and purple ball point pen-just for some variety. Already, I have started with some of the greens of the trees, I have decided to paint in a shape by shape method here. which is more of an "Inside -out Technique"

Stage 2-  Using this same method of painting shape by shape,  I slowly creep out of the tree area into other places. Always keeping in mind the power of edges.  if something is behind, then it should be painted first. Unless some sort of effect is desired to keep the edges fresh.                                                                                                                                         

Stage 3- The most interesting part, the wet reflected pavement,  is painted in a shape by shape method too. I always try my best to match each colour and shape as seen from the reference. But also every now and then I add what I think it looks like when it actually rains-that's the part the reference can not inform-it must be experienced and the emotions brought back to the studio.

Stage 4- And finally I work on the centre  of interest-the lady. I also work quickly because this is an "alla -prima" work , I have to make sure the paint is all still wet so the woman doesn't look like a cut-out but part of the painting. All detail is kept to the barest minimum to keep the painting very impressionistic in nature.

SPECIAL QUOTE
"Every artist has  a painting which is hidden away at the bottom of a drawer which, when they painted it, they thought was fantastic! Our eye develops, as do our technique and ideas. It is experience that helps us to see our successes and technical errors and use these mistakes to go forward."-(Criteria for judging an artwork- The Art of WATERCOLOUR Magazine)

The Story Behind 40 works that changed my career-40

NUMBER 40-RAIN, RAIN and RUSH HOUR

Rain, Rain and Rush Hour,  24" x 20", Oil on Canvas, 2011

And finally at last, The 40th work that has made my career is this painting- I was inspired to take this one on because it was a had crowded figures, reflections and rain-three elements I really love in urbanscapes!

 I worked completely from a photo in the studio but all the time I made sure I didn't fall prey to the abnormalities that pictures have.

 To really get into the mood of this piece I visited the venue at Cannon Street in the morning during the height of rush hour on a week day and the spirit of the whole place was just buzzing! You could see city workers all determined to get to work with their umbrellas, soaked and fizzing through the station to the streets adjacent to the station. I just stood their for almost 2 hours observing, making mental notes and taking loads of pictures, close to 700! 

When I got back to the studio I had a hard time looking through to see the one that really resonated with my spirit! It was difficult to find the one that really had a balanced composition and a good focal point. I thought, if I didn't get the right one I would need to start editing the pictures to make  it work. This process of selection is really part of the creative process, even before the main painting starts. Actually the painting starts when the idea and scene is viewed and conceived. 


I painted this piece for the Affordable Art Fair last year at Battersea, and I was pleased that just before the exhibition started, a couple saw in on the the gallery website and showed so much interest but waited till they saw it in the flesh. Once they saw it in the flesh they fell in love and carted it away to Canada!

SPECIAL QUOTE

I find it hard to understand after all these years of painting, I still go through a struggle and the climbing of a great mountain of doubt, before I embark on a new painting-the worries, the fear, the procrastination......then everything dispels once the work begins..."-Adebanji Alade

The Story Behind 40 works that changed my career -39

NUMBER 39- THE CIRCUS PANORAMA(BATH)



On the 21st of September I got out of my bed while the sun was shining with a glorious morning light and I ventured to get one shot(painting) of the Circus done. I arrived at around 10.15am at an interesting spot right in the middle of the park at the Circus and decided to paint a good view of an area in which the sun had illuminated part of the grass to almost a fluorescent yellowish green, with Brock Street peeping through!
While getting ready to paint, a resident from the Circus buildings came down to meet me with a cup of tea and said, "May the sun shine for you all day long"- I gladly had the 'Cuppa' and got down to work, at about 11.38am I had completed my first panel and then I thought the composition looked a bit incomplete. So I brought up another panel and joined it to the first and at around 12.36 in the afternoon I completed my first two 6" x 8" panels of the Circus. I was happy with the result until one passer by said, "it's good you are doing a panorama of this....." then I thought, OK, a panorama....I think I'll try...? Let's see what a third panel would like, by this time I had to turn my position to capture another part of the Circus, linking the third to the second. I then continued as the day went on, linking the third panel to a fourth panel and fifth and then finally sixth panel-all the while I had to keep moving in circles while the light light kept changing as the day went by but it didn't alter my determination to get the whole 6 panels to all join together to produce one solid piece! I finally finished around 6pm and one of the residents around the circus who had seen me paint all day entertained me to tea and snacks! It was a wonderful day!




Adebanji presenting the Circus Panorama during the Bath Marathon Exhibition at the Bath Gallery




This painting marked a great highlight during my Bath Marathon- and it was one of the first pieces to sell at the opening. It was so much in demand that the gallery did a Limited edition of it, I remember having to sign and write a personal quote on some.




The Circus Panorama, 48" x 6", Oil on Board, 2010



It has not been an easy experience of writing about these 40 works to celebrate my 40th birthday but I am happy I have only got one more post to do on this and that will come tomorrow after which I'll be able to continue my normal pots of work that I have currently been doing. It's been a wonderful experience looking back but now it's time to face the future-Hope I can get on to each canvas or paper with the excitement and enthusiasm which always fires me to produce works that would add colour, joy, love, wonder, and all the wonderful emotions to my life and the people that view and collect these works!




Adebanji painting the Circus Panorama (Picture by Jess Loughborough)



SPECIAL QUOTE
"Nature suggests ideas for interpretation, the artist supplies ideas of how the interpretation is to be made."-Edgar Payne from his book Composition of Outdoor Painting

Just After the Rain, The Abbey, 24" x 30", oil on canvas, 2011

Just After the Rain, The Abbey, Oil on Canvas, 24" x 30", 2011, SOLD

This is one of the paintings that got sold in the Bath Prize auction last year.

I went with my son Josh who was happy to see my painting go under the hammer, he got inspired and managed to sell one of his sketches for 30p!




Adebanji and Josh at The Bath Prize Auction, picture by Andy Short

I have tried to capture that freshness in the air after the rain with some reflections too. I was mainly inspired to take this piece after studying how Edward Seago takes on the clear cut effect of light and shade on architecture.

SPECIAL QUOTE
"Whatsoever thy hand findeth to do, do it with all thy might..."-King Solomon of Israel(Ecclesiastes 9:10)

After the Rain, London Streets, 30" x 24", Oil on Canvas, 2011

It's nice to get back into blogging! After this post, I'll share some sketches I've been doing on the tube and train, recently.
I haven't been able to post for a while, I was busy running Workshops in Art Shops around London on Oil Colour with Winsor & Newton- I was doing quick demonstrations for University Students. I then got ill with cysts on my eyes and couldn't do the final workshop at Cass Arts on "The Urban Landscape" but I hope I can get down to share all my tips on this subject in the future. I'll keep you informed.



After the Rain , London Streets, 30" x 24", Oil on Canvas, 2011 SOLD


Now back to this post. This is also another recent painting I have done with the mind to experiment with reflections. The focus was mainly on the figures which I enjoy putting into the urban landscape and the reflections and the mood in the air when there's a feel of sunshine after the rain. The scene of this painting was put as a quiz for an Early Christmas Present on Facebook and after many tries my good buddy Roy Connelly got it correct! It's Kingsgate Holborn! Look out for my next quiz-on this blog-you might be in for an early treat!

The couple that bought this painting had this to say in an email to me after they'd bought it from the gallery, and I am quoting them word for word:

"Hello Adebanji,

We bought your picture "After the Rain" at the Affordable Art Fair and
I just wanted to let you know that we are absolutely thrilled with it.

Good luck"

It is always good to get such positive feedback from people who are pleased with the work we artists produce!

SPECIAL QUOTE
"Some painters transform the sun into a yellow spot, others transform a yellow spot into the sun."
-Pablo Picasso

Plein air at Chiswick and Henley.

These are 2 paintings I did in the summer, they were part of Plein Air Brotherhood Exhibition.

Chiswick
This place is amazing! I was drawn to the pool because the reflections were just irresistible! It was quite a challenge with the greens always changing.But in the end I enjoyed it!



The Swan Pond Chiswick, 16" x 8", Oil on Board, 2011 SOLD






Henley
This was my first time here. I started painting the first boat and It was all going well until I heard it was going to move in about 12 minutes! Too short, I had to innovate with a new one that took it's place. Then as I was painting, Roy drew my attention to an oncoming steamboat and I very quickly got it down. It was a nice experience, as I was also painting alongside David Pilgrim and John Dobbs.




The Steamboat Arrives Henley, 10" x 8", Oil on Board, 2011 SOLD





SPECIAL QUOTE
"I strive to capture the moment, that fleeting light or atmospheric effect, tackled with a sense of urgency and an awareness that the prevailing conditions are transient and will not be precisely repeated"- (Trevor Chamberlain)