Its getting closer to my show the end of the month, with 20 days to go. I am busy getting my paintings framed and photographs printed. I have 4 digital original prints included in the exhibition and this is one below where The Copper House in Dublin city centre had some very kind words to share. Their recent post quoted below on their Facebook page about my photographs which were printed onto a high quality fine art lustre paper and then framed in a box, glassed frame.
Here is what they had to say!
The Copper House- We were very pleased with our job of framing the Lustre Fine Art prints with black frames of Derval Freeman Artists work.
They are absolutely magnificent pieces and look very polished. We would like to promote Derval Freemans’ Exhibition of Paintings and Photography Entitled ‘Solace’, as she is an amazing artist who deserves more recognition.
The upcoming exhibition Solace will be held in SignalArts Centre, Bray, Ireland at the end of the month. The opening is March 3rd and runs from February 27th to March 12th. We hope to see you all there!
“These photograph were taken on my Nikon D800 of places where I go for inspiration for my painting. When I am out on walks in the mountains and forests of Wicklow, Ireland, exploring and taking in the atmosphere I photograph things that take my interest. Some photographs I like to take just to keep as a photography piece however, a lot of the time the photographs are reference to the start point of a painting.”
Painting is an integral part of who I am, it is my primary form of expression which allows me to achieve a sense of belonging in the world. Painting is a way for me to investigate and resolve my place in areas of time and space in which I occupy.
The environment I am most drawn to is nature. Being surrounded by forestry and vast mountainous spaces trigger my sense of place. It evokes a wonder that drifts between the relevance of humanity and the purpose of existence. When isolated by the surroundings of nature a dialogue emerges through self-awareness where a bond between humanity and nature is significantly felt. Back in my studio this dialogue has a strong hold on what happens when I paint and my aim is to bring these conversations to the surface turning them into something tangible.
Photography is something that I would use as a type of journal, recording ideas and inspirations. I often bring my film cameras out with me to capture the things that interest me about a certain environment. I try to capture the atmosphere and mood of a place that mirrors my mood and emotion. I often put myself into the photo so I can become a part of it. When I study the resulting negatives and images I use the ones that bring visual narrative to my attention.
Through the memory of a place or an event, I jigsaw layers of paint onto the surface of the canvas pushing its boundaries until a narrative starts to emerge. Feelings that I am not alone in the solitary confinement of my studio often result, as if an absurd affinity between the work and I have occurred. It prompts the feeling that the work is reaching a place of relevance and the conversation finally emerges.
Through lots of layering and working up the surface of the painting, I sometimes take it off again and rework it until I have reached a place of recognition. I like to experiment a lot with my art. I sometimes expose parts of my negatives directly onto the canvas. I do this through my alternative darkroom processing technique called liquid light painting or painting with light. This makes the canvas light-sensitive so that I can develop a negative onto the canvas as I normally would when I’m developing a picture onto photographic paper. There is always the chance that the image fails to emerge after the exposure, but this is what makes it unique and interesting to me. It has a presence of something tangible by chance which appeared only to disappear. Leaving marks of tones and textures, the images that disappear are often more important and meaningful to me than those that stay.
I work the oils onto the same surface and the exposed image is one of the many layers that help build up the surface. The exposed image is also a way for me to bring the figure into the work. It may get fully or partially covered leaving parts untouched or it can be transparent through layers of paint over or underneath the exposure. I usually let the exposed image dictate how the paint should interact with it and sometimes I would use other media such as sand to add further texture to the work.
This is a light sensitised piece of paper from my sketchbook (very small sketch book, Approx A6). I love the involvement of my painterly techniques that liquid light sensitising allows. It resembles an organic type of conversation between my ‘painter’ and ‘photographer’ side. This is all too inevitable I feel.. I’m enjoying the collaboration of both sides.. At the moment I am pushing this experience into a more ‘intrusive’ environment where I am marrying the two worlds together. Does/Will it work?? I am pushing my boundaries so I guess I have answered my question..
This is my son Aaron on sketchbook paper.
This is a self portrait on light sensitised watercolor paper.