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Clean Palette.

Clean Palette.


Spider skin

Spider skin



Detail of “ Bogland Sackrace ” - work in progress.

Detail of “Bogland Sackrace” - work in progress.

Drawing is essential in practice. It’s not even the success of the outcome that’s important but the act of looking and really scrutinising an image or object. Trying to find a way in.



Wrapping process.



Sketchbook work.

Sketchbook work.


For tomorrow, let loose!

I’ve been lingering long enough on small little intricacies.

It’s not the first time I’ve struggled with a figure in profile.

Need to just look!

‘Art of Spain’ documentary : Goya was deaf!?

Black paintings were done “to the brink of incoherence” (AGD).


‘ Bogland ’ completed

Bogland’ completed

A really good day in the studio. Huge improvement to ‘Sackrace’. The face in the central figure could be better but that is where I’ll leave it. Back is signed so it’s official.

Studio shot:  17/08/19

Studio shot: 17/08/19

Unplanned progress on ‘Ferryman’. More painterly background.


Getting there with the small chores.


Otto Dix - War Triptych


Early stages of “The Brown Bull of Cooley”

Early stages of “The Brown Bull of Cooley”

Started a new large canvas. Took on the image of a woman in motion - her stance suggested a figure that could be in battle. After a little research I decided to add a typical Celtic sword and shield combo. So this found magazine image turns into Queen Medb of Connaught.

Once the figure was on the canvas I was unsure whether to incorporate the bull (Medb’s infamous cattle raid of Cooley as inspiration) but curiosity got the better of me and I tore on with it.

Basically blocking the image up but it is promising so far. It will be interesting to see the fight between Medb and the bull in terms of who will come out dominant where in the composition.




Material delivery!


Studio work and ‘Ferryman’ has stagnated. Some parts work and others flop.

At that strange limbo point where a painting you’re working on fights back and refuses to yield. When one point of grievance is adjusted, two more pop up.

Today - more so than others - has been spent reflecting on lost loved ones and parts of that has made its way onto canvas. Little nods to moments once shared with someone no longer here.

I haven’t had this level of personal attachment to a work in progress in a long time and it has made the already frustrating back and forth of a painting’s final stretch all the more agonising.

Can you paint over a memory or is knowing that these little nods once existed enough?


RDH: MAY 2019


Painting Peer Critique hosted in CCA Derry.

Artist   John Robinson   with his work on the temporary stage at CCA Derry.

Artist John Robinson with his work on the temporary stage at CCA Derry.


Close up of “ The Lost Woods Study ”

Close up of “The Lost Woods Study

Been a while since using leaves to print on. Needs more layers but for now it solves the issue of the line… breaks the eye.

So after four months and four days I’ve finally finished a painting and broke my 2019 drought.

Detail of “ Rose ” - oil and charcoal on canvas.

Detail of “Rose” - oil and charcoal on canvas.


First time visiting and it was like opening an old wound.


One very creepy window display.

One very creepy window display.


Great Art show: “Goya: Flesh and Blood”

Started “Sack Race” (working title) and stupidly didn’t check material inventory before starting.


Sketching tonight. Past self was clever enough to leave certain works aside for potential events.

Study of an Uncle.

Study of an Uncle.


Really happy with how the studio went today.


Completed “ The Lost Woods Study ”.

Completed “The Lost Woods Study”.


Not to rely on gimmick. It has been an invaluable tool - one that I will continue to utilise - but only when the work demands it. If it is forced (like “Woman With the Dogs” and, more recently, “Ruins”) the work stagnates and imagery drowns in an unnecessarily complicated mess.


Should take own advice from time to time about differing paint properties.

In “Sack Race” - the looser the playing field the better. Almost tempted not to touch it at all.

A sort of closure. A temporary full stop.


Ran out of time. Need to keep RD by side.




“I know more. The lack of whats in the current work informs the next.” - Eva Rothschild.

More layers to “The Ferryman”. Because the face of the ferryman is so small it would be easy to fall into the familiar trap of aiming to capture all the detail and likeness of the source image. Focusing instead on light and tone - maybe even a hint of a blur? Like the figure is in the middle of turning to look at the viewer.

Surprise / Confrontation / Acknowledgement

Back and forth with “Sack Race”. Happy with certain elements, like the sky but have consequently fogged up other sections in the process. Eager to not fall into the familiar trap of muddiness and over-painting.

More progress to the sky in “ Sack Race ”.

More progress to the sky in “Sack Race”.



Late night sketchbook work.

Late night sketchbook work.