Lady New Year

A thousand times she's threaded
Needle eye on frayed yarn of time.
Now she toasts a flute to sun's
Ludic chase of cousin moon. 

Popes, heads, and states have
Charted her passing in clay,
On hide and beyond the ether
In sand and flame and flow. 

She cares little and hopes
People would once seek
Her company and clink
Not celebrate her passing, blink.

Happy New Year, everyone! I got the idea for this painting only on the 30th of December and it turned out to be more difficult and ambitious than I expected.

I am not a fan of making resolutions, but here is one which seems appropriate to the subject: in 2022 I want to make more of these (distantly) Mucha inspired works.

Alphonse Mucha was a painter, illustrator, and designer (and much more), perhaps best known for his famous Art Nouveau posters he produced at the end of the 19th century in Paris, which helped launch his fruitful career. He is one of the artists I discovered in 2021 and who has impressed me the most with his ability to combine realism with fantastical beauty.

A Christmas card for organic chemists

Being the grinch that I am, I thought I might as well jump on the celebration boat following the obvious reasoning of ‘ I want to see the world burn’.

So, here is my take on the Christmas card/wishes business.

Having ’til not long ago worked as an organic chemist, I still find a connection to this world which provides me with plenty of inspiration. That is how this card came to be.

What about its meaning? I don’t want to risk it being misunderstood; I am sure it will be mostly ignored. But I have to try.

Here it is in the painful equivalent of explaining the joke.

  • If you’ve been naughty, did not follow proper protocol, and ended up with your beloved sample getting intimate with the Rotavap bath, then Santa has a great bottle of XquisitePhos ready for you
  • If you’ve been nice, followed proper protocol, and both optimised your eluent polarity and measured the Rf value for your sample, then Santa has a nice glassware brush waiting for you

You may be thinking ‘That makes no sense’. There are a couple of possible explanations: either I’ve mixed up my boxes or I planned this all along in a clever way; something that chemists call, use, and abuse: rational design.

Let’s assume it is the latter. I planned it this way. Why would the naughty chemist get the expensive present? Well, there is the old saying ‘Fortune favours the brave’, and as I have found for myself, playing by the rules gets you nowhere. Sometimes it goes wrong, but you have to take your chances if you want to get anything done.

There is one other clever interpretation of this metaphorical Christmas ‘wish-you-well’ item. There are a couple of things any organic chemist who’s been in the business for long enough cannot avoid: going on the Phos and having to clean glassware. Some, working on very well-funded projects, might have lab dishwashers (I actually don’t know what the proper name is for those). In that case I assume they would probably throw out the compromised glassware that can’t be cleaned this way. Maybe I was wrong.

It’s less likely that you can get away from the Phos. Which brings me to the label on the beloved expensive Christmas present:

ResplendentPlus grade
Purified by triple incantation
Immobilised onto unicorn tears

I am so proud of myself for coming up with this one that I won’t explain it. If you are a chemist and don’t get it, then I must be new? Good luck!

Happy holidays and may the Phos be with you!


Sun is fallen.
All is blue.
In this world
All is true.

Sun is closer,
Don't forget,
Than you in dream
May ever get.

Making of

I started this work with the title in mind ‘Study in blue’. Having considered what does the colour blue mean to people: ‘cold’, ‘water’, ‘sky’, ‘night’, ‘flame’, I decided to challenge myself to create a painting using only blue to explore whether I could derive other meaning from using this colour. Otherwise said, could I suggest ‘warm’, ‘dry’, or ‘land’, in spite of using only blue?

Having sketched a few versions of this idea, I ended up with the one shown below. It was going to involve a great sphere (the idea having been in my head for a while); the landscape around evolved. In this final version, I couldn’t help but see a fallen sun, and that is how the poem came to be.

Final draft version of ‘Study in blue’; graphite pencil

Have I succeeded with this experiment?

No. It looks like a freezing winter night on another planet. But the painting and poem are good.

A comparative study on choosing a painting medium

The ‘triptych’ I’ve used as the cover image presents the three works I’ve made around the idea of ‘Madness’. Besides covering my experience as a beginner artist working with these mediums and discussing the results, I also want to share my thoughts on the meaning and composition of this work. I have touched previously in my article on ‘The Value of Art‘ on the frustration artists feel not having their work understood and appreciated. I want to address this simply by explaining my own art. It seems sensible that the person best equipped to provide such commentary is the author themselves. My feeling is contemporary artists are inclined towards ignoring the issue of explaining, or altogether refuse to comment when asked to. Conversely, all art deserves a bit of attention, and commentary should not be reserved for museum masterpieces having their descriptions written by art historians. It is all about making art accessible.

Before doing any painting, I spent a lot of time working on drawing the linework for a template. I don’t have such great ability with portraits, and I wanted the model to be consistent so I could explore colours and effects. The idea behind the composition is simple. Madness is our mind turned against us, disconnected from ourselves, blown out of proportion and alien. That is why the body is seen from the back, disconnected from the massive head looking down onto it.

‘Madness’ – Ink wash on watercolour paper

For the first version I painted using ink: an ink wash. I am thankful for my art class teacher having taught this. I used black writing ink, which I found worked just fine, and I quite liked the hues developed by the ink separating as it ran in and on the paper. If you want to see more on this, here is a Youtube video of me playing with markers and paper chromatography. Working in black and white was a good way to explore giving the face and body features through the use of light and shadow. I then used this as a further model to develop the series. My scientist training was showing itself off in the experiment design. I left the background white to ensure I had contrast.

‘Madness’ – oil pastels on watercolour paper

I then moved on to using oil pastels (which I had never used before) to explore some colours. I wanted plenty of strong contrasts and intense colours to support the theme of the work. If you want to do some quick exploration on colours, this is the medium, out of the ones I have worked with, that I would recommend. It is so easy, and so bold, and I only used some beginner grade materials. The yellow body gets lost in the sea of orange, which contrasts with the light blue of the upper background, again indicating separation. The peachy, fleshy tone of the head, perhaps not miles away in colour from the body, stands out on the bright blue background. I chose the bright green/brown combination for the eyes, both because mixing these pastels is not easy unless you have a broad space on your support and I didn’t have many colours, and because I wanted to bring the added touch of uncanny to the face of madness.

‘Madness’ – oil paint on paper primed with acrylic gesso

Finally, I moved to using oil paints. Using this medium I was able to return to working on the more intricate construction of shading (failures all mine, not the medium’s), as I had done using the ink wash, and continued exploring colours. A striking, gaudy mix of colours was what I was after. Right now while writing this, I like it. I feel it’s better than the oil pastel version. My opinion varies. Working in oil, I had the option of adding brush marks for texture in the background. The circular ones around the body are an experiment abandoned. I liked them, then changed my mind, but didn’t do anything about it. Boredom installed. They build on the idea of separating self from madness, but not really going places. I found building the face in this dark, intense colour really hard, made more challenging by the sheen of the oils under uneven artificial lighting. I started by applying a coat of the base colour, then added white or black, and did most of the mixing on the painting. Perhaps, this is what caused the trouble; I worked the other way round to how I had done for the ink wash, when I built the colour gradually using mostly heavily diluted ink. I added the extra detail of making the pupils the same yellow as the background under the face to indicate the emptiness of madness: it lies, distorts, appears massive and believable, but there is no substance to it. It is a mask.

What have I learnt? If there is an idea you want to put out, it might be worth exploring different mediums, especially if you are a beginner like me. If you also get easily bored, like I do, it can be a difficult experiment. The only downside I find to using oils, as far as the artwork is concerned, is how long they take to dry. They mostly don’t and you have to work around that. That is why I have separately explored acrylics. I will write about that in the future. I think the ink or the oils could be used to produce finished works even by unskilled hands like mine. The oil pastels however are just too rough for that, they might be limited to making sketches.

And yes, I am aware none of the faces have eyelashes. For the tonal work, I have no excuse really. I could have drawn them in, but assumed they wouldn’t show up in the photo anyway. Lesson learnt. With pastels, I guess I could have scratched them in there, if I had used a coloured paper. With oils, same, or I could have waited for the eyes to dry, and then painted them over. And if you think it’s weird I did all this, just to then cut corners on the details, read my article on “Analysing the ‘It’s good enough‘ mentality” for clarification.