Figs

We first came to the house in 1988. The limbs of the fig tree had been killed by the terrible winter of 85-86, when the mercury fell to -25 degrees C. Fig trees are very tough though, and when we first saw it, the lumpy twisted trunk was shooting out vigorous young stems.

Catherine Forshall's hand and paint brush figs in back ground

In the years that followed it grew and grew. By the mid 90’s we were able to take down the loggia we had built to give us shade, and eat under the fig tree,  a fountain of cool green, that in heavy heat of summer became another room.

The tree developed a two tier ecosystem, humans picking the fruit from the lower branches, insects and birds taking the rest. In the early October mornings they are ice-sweet, but slightly tart, becoming sweet, like warm jam in the afternoon sun. Sometimes in spring we hear the cries of golden oriel, who love figs. They are very shy and at the slightest hint of humans, shoot off in a blurred flash of yellow. As soon as the spring crop of figs has been consumed they leave. It is as if they have come all the way from Africa to eat our figs.

Figs and fig leaves

This autumn I’ve been sketching and painting figs for the Christmas show at the  Moncrieff-Bray Gallery, opening on 24th November. For some of my generation figs will always be associated with the scene in Women in Love, when Alan Bates shows Eleanor Bron how to eat them. Lawrence thought that the open fig had a feminine aspect,  though for me these these tightly packed, swollen to bursting globes of hanging seed have a more masculine feel.

Green figs strong shadows

But Lawrence was nearer. The the common fig, Ficus carica, is a relation of the Mulberry tree. It fruits not, but flowers. These do not open. It is gynodioecious which means, having ‘hermaphrodite flowers and female flowers on separate plants’. It is pollinated when the fertilized female wasp enters the fig through the scion, which is a tiny hole in the crown (the ostiole). She crawls on the inflorescence inside the fig, lays her eggs inside some of the flowers and dies. (1)

Hand and brush painting figs

As I sit under our fig tree, harvesting in a different way, I think how this tree, with no planting, no feeding, no watering, gives and gives and gives to all those generations of birds and humans, and wasps, who visit it, with only the help of a tiny specialised insect, which lays down its life with its eggs.

Green figs, basket, shadow, harvest, crop

Painting by Catherine Forshall of figs

My figs, quince and pomegranates will be showing with the work of other gallery artists at

The Christmas Exhibition at the Moncrieff Bray Gallery

Ramsay Gibb’s Scottish seascapes,  Stephen Palmer, Jackie Philip, Lucy Powell, Sarah Warley-Cummings and Sandra Whitmore –  who have produced a series of smaller works for Christmas.
Thursday 24th November – Saturday 3rd December, and by appointment until Christmas Eve.

Opening Times:  Wednesday to Saturday 11 am to 4 pm. We are delighted to see visitors outside of these hours but please ring ahead to confirm a time.

Moncrieff-Bray Gallery logo

Catherine Forshall painting figs

(1) taken with thanks from Wikipedia

Photography by James Forshall

For directions to the Moncrieff-Bray Gallery click here

Painting native oysters

I’ve been painting and sketching native oysters, Ostrea edulis.  I buy them from oyster fishermen at Mylor in Cornwall near Falmouth. It was bitterly cold then and it’s pretty cold now.

_DSC4569 Detail of sketch of native oysters © 2016 Catherine Forshall

It takes a long time to establish a native oyster bed. They were a major source of cheap food. In 1851, for example, a round 500 million oysters were sold through Billingsgate. Our oyster beds were destroyed by a series of cold winters, surely not the first though, in the mid 20th Century, and then pollution, the parasite, Bonnania Ostrea, the beastly slipper limpets and oyster drills which drill holes into them and eat it contents, they are a big threat for commercial oyster farms.

Painting Native Oysters

Now they can only be collected under license in Scotland.

Sketching Native Oysters

Oysters change back and forth from female to male according to the temperature of the water. You get in the bath nice and hot, go to sleep, and wake up in cold water, surprisingly different. Well, surprising the first time, but native oysters can live for 20 years so they may get used to it.

Native Oysters

Native Oysters, acrylic on canvas 50 cms x 100 cms

You can see my work in London at the The Flying Colours Gallery and at Oliver Contemporary

All photographs by James Forshall

Zeus

Hand with bangled covered wrist cutting canvas with scissors guided by stretcher bar, monochrome

It did get cooler. We had a couple of days of rain. The plants around the house are lifting their heads with relief. The stinging nettles are particularly energetic.

I took the opportunity to stretch canvas.

Woman, Catherine Forshall, crouching to cut canvas with scissors, on cement floor, using canvas stretcher as as template, stone wall, bicycle and table in background

The canvases are the platforms for paintings which I will show in November at the Flying Colours Gallery in Chelsea.

Face of fish, St Pierre, John Dory, Zeus Faber, in profile, against bluish background from painting by Catherine Forshall

This is a detail from one, Zeus, a painting of a John Dory, (Zeus faber), or St Pierre in French.

The Flying Colours Gallery have taken some of my work to the Edinburgh Festival and are showing at 6A Dundas Street 11th – 19th August, Monday to Saturday 10.00 a.m. – 6.00 p.m.

If you would like to be kept informed of my shows and other events please email me at http://catherineforshallpainting@gmail.com

All photographs © James Forshall

Stretching in the Lot

We’ve had a couple of days respite from the heat. Now it is back to 38° C / 100.4°F in the shade and a baking 46°C / 114.8°F in the sun. Ooph. Step out of the shade and you’re toast.  But yesterday evening it was cooler so I assembled a few stretchers.

Bicycle, stretcher bars, canvas, stone wall

Not my bicycle. You don’t need a bicycle to assemble stretchers. In fact, definitely don’t try it on a bicycle.

Woman in blue, Catherine Forshall, assembling stretchers, against background of stone wall

I like these stretcher bars. They are good and solid, the best I’ve had. They are from Russell and Chapel, London’s oldest supplier of fabrics to artists and the theatre, established in 1770. Captain Cook first sighted Australia on April 19th of that year, leaving the British in North America another 6 years, in which to declare independence, though by 1770 trouble was brewing.

Hands of Catherine Forshall, one with hammer one holding stretcher bars,

Yes, I know that I should be using a mallet not a hammer. I can’t find the mallet.

Woman, Catherine Forshall, assembling stretcher bars

Wooden canvas stretchers against a stone wall

Here they are. Waiting for me to stretch the nice clean white canvas on them, which I will do if it cools down later.

If you would like to be kept informed of my shows and other events please email me at

catherineforshallpainting@gmail.com

all photographs © James Forshall

The Sea in my Barn

It’s hot here. 40° degrees C or 104°Fahrenheit. It’s hard to work outside, except early in the morning. We’re under siege. The shutters on the house stay shut until after sunset. It works. The house stays cool and most of the windows in my studio face north.

Catherine Forshall painting sardines in her studio in France

Was that why I started painting the sea and its creatures? To bring the cool blue into this hot dry place?  That might have been part of it, part of why I enjoy it, why it makes me feel happy.

Shells, pencils, a star fish in a wooden trug

I’m painting sardines, Sardine pilchardus. I am calling it Sardine Shoal, though in the sea it would be only a tiny part of the huge murmurations of sardines that makes up a shoal.  Like many fish sardine numbers are under pressure from over fishing. Some scientists think that sardines help to keep the sea healthy and reduce the amount of methane sent into the atmosphere.

Woman in blue denim, Catherine Forshall, painting sardines on canvas in evening light

This painting will go in my forthcoming show, Coast, this November at the Flying Colours Gallery in Chelsea.

Here is a detail.

Two Sardines against a blue background, acrylic on canvas, painting by Catherine Forshall

If you would like to be kept informed of forthcoming exhibitions please email me at catherineforshall@yahoo.co.uk

Photographs taken in the Lot, France © James Forshall

Goblin Gloves: painting foxgloves

Foxgloves, digitalis purpurea, against a back ground of blue and ochre on canvas

The weather’s filthy: wind, rain. It’s gusting 60 mph down on the coast. So it’s nice to be inside painting something that reminds me that summer really is here…somewhere. It’s certainly not outside.

Foxglove laid across canvas, paint brush in background painting flowers on canvas

Aren’t they strange? They must be one of the largest British wild flowers. I remember as a child being drawn to them, taller than me, graceful and yet..what is it. They had presence. They beckoned. An old saying about Foxgloves is ‘They can raise the dead and kill the living’. I remember, doing as all country children do, taking off the flowers and putting them, over my fingers. I didn’t know then that everything of the Foxglove is poisonous, leaves, flowers, stem, pollen, roots but I came to no harm.

Foxgloves in foreground, Catherine Forshalls hand painting Foxgloves on canvas in back ground

The flower is mentioned in a list of flora compiled during the reign of Edward III, (1327-1377). The botanical name is Digitalis purpurea, but there are lots of lovely folk names for them, Goblin Gloves, Dead Men’s Bells, Fairy Gloves, Gloves of our Lady, Fairy Caps, Fairy Thimbles, Witches gloves, bloody fingers, Virgin’s Glove, Floppy Dock, Foxbell, Flowster-Docker, Finger Hut, Flopper Dock, King Elwand….. The Celts considered them the most magical of all herbs and called them Lus Mor, the Great Herb

Woman, Catherine Forshall painting foxgloves on canvas, monochrome, behind her deep shadow

The painting will be part of a series of canvases of wild flowers with the sea in the back ground for a show called ‘Coast’, which will take place next November at the Flying Colours Gallery in Chelsea.

If you would like to be kept informed of forthcoming shows email me at catherineforshall@yahoo.co.uk

All photographs © James Forshall

Candles (Aesculus hippocastanum) at Great Fulford

Horse chestnut flower, Aesculus Hippocastanum, in front of painting of same by Catherine Forshall

When I think of horse chestnut trees they always seem to be in public places: a village square in France, near a statue, by a park, on the edge of a cricket pitch. Perhaps that is because they are so flamboyant, exuberant, decorative. They are not really natives being imported from northern Greece or Albania in 1616, the year that Pocahontas, her husband John Rolfe and their son Thomas arrived in England,  and the year that Sir Walter Raleigh was released from The Tower to lead his doomed quest to find El Dorado.

Figure out of focus in background, Catherine Forshall, painting surrounded by blue bells in dappled shade, chestnut candle in foreground

The nearest one to our cottage though is hidden in the woods, near the tennis court at Fulford, which is also hidden in the woods and which as a result spends a lot of the year covered in moss and leaves.

Hand of Catherine Forshall sketching horse chestnut candles at Great Fulford

The tree is on the edge of the track which leads through the woods to the house, so perhaps it used to be a more public place. Now, though, it is almost hidden and probably not seen in flower by anybody from one year to the next. When I see the candles I know that spring has sprung and summer has begun. I walked up to the wood to sketch them, breaking off a candle and pushing away the branches to kneel among the bluebells and ivy in the shade of the tree with my sketch books.

Hand holding paint brush painting on canvas horse chestnut flower seen standing up on left

Later I took the some flowers home to paint. They don’t last long. I had to work quickly.

Horse chestnut candle flowers in front of blue background, painting by Catherine Forshall

Detail from Candles and Sea painting

You can see my work now  at the Montcrieff-Bray gallery near Petworth in Sussex.

The show has just started and is on until the 20th June.

http://moncrieff-bray.com/exhibitions   

All photographs © James Forshall

Woman, Catherine Forshall, painter, walking down hill along track towards small white house, holding chestnut flower in hand

Spindrift

I’ve just completed this painting of oyster shells.

Spindrift

They are the shells of the Pacific oyster and they are on the way to the Moncrieff- Bray Gallery, which will take them to the 20/21 International Art Fair at the Royal College of Art, Kensington Gore, London SW7 2EU, running from the 14 – 17th May 2015.

Photograph by James Forshall

Periwinkle

 

I’m painting periwinkles. There is a shell fish called a periwinkle but as you can see this is the flower.

Hand holding blue periwinkle flower in front of periwinkel painting by Catherine Forshall

I think of it as a southern European plant. They were some of the earliest flowers to come out around the house when we lived in France. At the end of January I was surprised to see one flowering in the Devon lane which leads to our house. The snowdrops are out and there are couple of very bold primroses which have been out for over a month encouraged by a heating pipe which leads to the studio. I love the violet blue of the periwinkle and the modest, simple, five petaled structure of it’s face. It is an omen of warmer days, of shorter nights, and spring.

Periwinkle painting by Catherine Forshall, blue, five petaled flower on green background

 Photographs © James Forshall

Low Tide

I’ve been working on a large canvas of sea shells

Sea painting, shells, sea shells, marine painting, hand and brush painting sea shells on canvas

 

Detail, Lutaria Lutaria, Otter shell from painting 'Low Tide' by Catherine Forshall

 

My pallet, pallet of Catherine Forshall for painting of 'Low Tide'

This is my palette.  I use anything to hand: a piece of old card board, a used envelope, or in this case a pad of lined refill paper.  I do have a proper palette but I find it a bit heavy. In this case I used the palette for mixing paint but also to display the shells which I am using as reference.

Catherine Forshall painting, holding a brush in one hand and

Collection of objects used by Catherine Forshall in painting of 'Vortex' and 'Low Tide'

This is a collection of objects which I have used while painting ‘Low Tide’ and another recent painting, ‘Vortex’, the kind of things you’d find on the tide line, bottles, bit’s of bamboo, a yoghurt pot, a dead fish, seashells, a bit of old newspaper but all tidied, compressed into this rectangle after work. The liquid in the glass is diluted ink.

All photographs © James Forshall