Why are we called St Cuthberts Mill?

 

Reverend Gill Sakakini
at St Cuthbert's Church

Reverend Gill Sakakini is a priest and artist who works in a pioneering role in the Diocese of Bath and Wells. She creatively encourages spiritual exploration in the area local to St Cuthberts Mill, and leads art workshops and community events. Earlier this year Gill was an Artist in Residence on Holy Island /Lindisfarne where she brought full circle the shared connections between our local St Cuthbert’s Church, St Cuthbert’s School, and St Cuthberts Mill.

To give some background, St Cuthberts Mill is located just outside Wells in the beautiful county of Somerset. The mill resides in the church parish of St Cuthbert’s Church, a medieval church located on St Cuthbert’s Street, Wells, that was first built in the 13th century. Legend tells an old mill owner was out walking when he heard the church bells ringing from St Cuthbert’s Church and decided to name the mill after the local church.

Gill’s residency saw her travel to the very North East of England visiting Holy Island /Lindisfarne. Holy Island is where the man we know of as Saint Cuthbert spent most of his life as both a hermit and a bishop.

We interviewed Gill about the residency, and the resulting work exhibited at St Cuthbert’s Church, in association with collaborative work with local primary children from St Cuthbert’s School and St Aldhelm’s School.

Holy Island is not local to us in Somerset and your residency started with a long trek. Can you tell us more about the journey getting to the residency? 

Yes, I decided to make a pilgrimage to my destination by walking the St Cuthbert’s Way which began at the Abbey in the Scottish border town of Melrose and wove through others such as Jedburgh and Kirk Yetholm. I walked in the company of good friends and we paused to say prayers and read writings from the Celtic saints along the way. We followed some of the routes Saint Cuthbert would have walked as he spread the good news about Jesus Christ. The final part of the 62 mile pilgrimage path was over the sands at low tide as Holy Island may only be reached when the tide is out. While there is a causeway for vehicles, the pilgrim path follows a series of guiding poles and there is one tall place of escape should someone have misjudged the tide times! We crossed at 5.30am after about an hour and a half and were welcomed by the very eerie and ghostly sound of seals! 

How did you work with the local children in the preparation for the residency?

I worked with the staff of St Cuthbert’s Junior School in Wells, in particular with the RE lead teacher. Together we created a half term’s worth of interdisciplinary curriculum across Art and RE which is now available for other schools nationally. Each week all the children explored aspects of Celtic Christianity through art. The children responded to the famous Lindisfarne Gospels which are one of the most well preserved examples of an illuminated manuscript of this kind —  now in the British Library. Each child used a stencil to create the first letter of their name which they decorated in ink and crayons to 'illumine' something about themselves. In another lesson the children encountered a coracle; the small boat used by the saints to travel. The children made their own designs and printed them, some on tissue paper, evoking the fragility of traveling that depended on the wind. They learned how Saint Cuthbert and others depended also on the wind of the Holy Spirit to guide their journeys.

What were your experiences at Holy Island?

On Holy Island I was based at the St Cuthbert’s Centre (the island’s church). I stayed in a bothy on the premises which is available for hire. St Cuthbert’s Centre was a former Presbyterian Church built in the late 1800s largely, as a place of worship for the fishing families. The roof structure itself resembles a boat upside down and this was significant inspiration for the work I produced. The church became a United Reformed Church subsequently, and was re-ordered to create a light, bright venue both for weekly prayer and art making and exhibitions. On a daily basis, pilgrims, tourists, island inhabitants, and visitors flowed through the doors. I led a collaborative piece of art that all were welcome to participate in. My work was focussed on this community and I made my own art which responded to Holy Island; its people, geography, spirituality, and connections with Saint Cuthbert in Wells. I spent part of each day out and about sketching, joining in the many opportunities for prayer on the island, and I returned to focus my attention on making folded books, which was the theme I chose for deepening my arts practice.

What was it like on Holy Island?

The place has a distinctive character and people come to visit with an expectation that they may sense something holy, numinous, or perhaps perceive they mystery of what is known as a ‘thin'  or 'liminal' place where the veil between this world and the next is most transparent. Certainly, it was wild and windy, yet deeply peaceful, and the horizon pulled my gaze. There were ancient stones and ruins and sacred places where many prayers had been offered, some in trepidation of Viking marauders in the 700s. The indigenous population is around 150 and many who grew up on the island return in later years. I sensed a bit of unease between the residents and the many, many visitors (up to 4,000 a day at the height of summer on an island that is only 3 miles long). Holy Island was beautiful, the sea a deep blue, the wildlife extraordinary and the sacred rhythms were tangible.

Can you tell us about the work you created at Holy Island?

As I mentioned above, the intention was to learn more about book making and the role of a non -traditional book. I was grateful for the opportunity to consolidate some of my prior learning and have unlimited time to try out, re-work, and begin again if necessary. As part of this, I sought to include the art created by the school children and that of people in other drawing groups in Shepton Mallet (a small town close to Wells) and make something new. I arrived with few plans other than these, as I wanted to be open to the environment in which I found myself. I completed a range of books and was pleased with the outcomes.

I enjoyed making new art from existing art, and I was drawn to the upturned boats that had been made into small dwellings, shops or storage spaces from the old fishing boats. This spoke to me of the excitement of re-imagining something for a new purpose, and is often a feature of the art I make. It reminded me of resurrection themes; renewing and remaking from what’s been discarded and left behind.

You’ve specialised in making artist books for the exhibition, how did you get on with the paper you chose for the project?

I really appreciated using the paper from St Cuthberts Mill, both the Somerset and the Bockingford, which were ideal, respectively, for the watercolour inks I used and for printmaking. It was a joy to be able to offer such good quality paper to the children in school, as they gained an appreciation of quality and how the inks settled into the paper and didn’t buckle. The paper seemed to know what I was about to do with it - in a curious way! I enjoyed working with it and feeling the natural folding grain. I was able to let all the visitors know that the communal piece was on very special paper connected in its special way with Saint Cuthbert via St Cuthberts Mill.

Did you unlock the mystery of why there’s a church in Somerset dedicated to a northern saint?

As I set about finding a connection as part of the early preparation for the residency. I needed a story and an answer to this question, as it seemed impossible that Saint Cuthbert had physically travelled this far south in the 600s. After some research a connection emerged and is documented in the Chained Library in Wells Cathedral. When King Alfred (849-899) was hiding in battle in the Somerset marshes near Wells, allegedly disguised as a pilgrim, fearful and hungry, Saint Cuthbert appeared to him in a vision and advised and comforted him. As was common in history, Christians often gathered around a cult of a saint who they thought embodied their aspirational spirituality, so it may have been that the life and faith of Saint Cuthbert inspired them, and therefore the dedication to this saint was given to the Church in Wells.

Can you tell us more about who Saint Cuthbert was?

Yes, Saint Cuthbert’s dates were 634-687AD and he was born in Melrose (where the pilgrimage began). Saint Cuthbert was known as a man of great faith whose life was marked by prayer, often for long hours in the rising tide during the night! One story tells how the otters came to warm him in the morning. He was known for his compassion for all creatures and helped to preserve wildlife, particularly the Eider Duck, which is affectionately known as the Cuddy duck (Cuthbert’s nickname and the title of the residency). The children at St Aldhelm’s School in (the local village of) Doulting created lots of Cuddy Ducks as part of the residency, which have been made into postcards. Cuthbert was responsible for the spread of Christianity in the North of England and many stories document visions, miracles, and encounters with spiritual seekers.  Even after his death many miracles were reported at the site of his shrine in Durham Cathedral. He was made a saint in 698, 11 years after his death, when amazingly his body hadn’t perished in its coffin after all those years.

Your exhibition was called ‘Cuddy Connection’, can you tell us the inspiration of the show’s name?

I mentioned that Saint Cuthbert’s nickname was 'Cuddy' but it was also mine at school too, based on my name - Cudmore. I sensed an affinity with Saint Cuthbert when I discovered this, and it was yet another link between places, faith and people.

Footnote - about the St Cuthberts cross:

The emblem of St Cuthberts Mill is inspired by the cross found in Saint Cuthbert’s tomb in Durham Cathedral. The Anglo- Saxon relic is a ‘pectoral’ (worn on the chest) cross found in the saint’s coffin when opened 1827. It is thought the cross was either buried with him in 687 or placed in his coffin in 698, when Saint Cuthbert’s sainthood was recognised. The original cross is made of gold and set with garnet and small pieces of shell. In additional, the St Cuthberts Mill symbol is also decorated with lions, referencing the stone lion statues on the mill roof that oversee the mill with their watchful gaze. 

Saint Cuthbert's Pectoral Cross
Photo credit: Dean and Chapter of Durham Cathedral

To learn more about artist Revd Gill Sakatini
www.gillsakakini.com/

About St Cuthbert’s Church, Wells
www.nationalchurchestrust.org/church/st-cuthbert-wells

 

For more about Saint Cuthbert and Holy Island / Lindisfarne
www.lindisfarne.org.uk/general/cuthbert1.htm

 

More about St Cuthbert’s Centre, Holy Island / Lindisfarne

https://www.holyisland-stcuthbert.org/

 

Discover about ‘The treasures of Saint Cuthbert’
www.durhamcathedral.co.uk/explore/treasures-collections/saint-cuthbert-relics

Artist Interview: Jayson Castor

 

From the bustling energy of cityscapes to the serene beauty of nature, Ambassador Jayson Castor’s brushstrokes bring life to every scene, transporting you to new realms.

With a string of national and international awards to his name, including recognition as one of the 'Top 200 Watercolour Artists' at the International Watercolour Masters in England, Jayson's talent speaks for itself. But beyond the accolades, it's his unwavering love for art and his desire to inspire others that truly define his remarkable path.

We asked Jayson about his artistic journey, what drew him to watercolour, and about his paper of choice, Saunders Waterford ®.

'Celebrating Australia Day from Above'
by Jayson Castor on Saunders Waterford

Jayson, could you tell us a bit about your artistic background? What initially drew you to watercolour as your primary medium?

I was born in Balanga City, Bataan, Philippines - a place rich in history and culture - and now live in South Australia, where I’ve found a deeper connection to both my art and myself. Art has always been a part of my life. As a child, I would draw and sketch constantly, using art as a way to understand and express the world around me. But it wasn’t until later in life that I discovered painting, and more specifically, watercolour, as my true creative outlet.

Watercolour captivated me from the start. There’s something magical about how it flows - how it resists control yet rewards patience and intuition. I was drawn to its spontaneity, its softness, and its ability to convey emotion with just a few brushstrokes. It felt like the perfect medium for someone like me, who values expression over perfection. Over time, I embraced the wet-on-wet technique, which allows the pigments to blend and bloom naturally, creating atmospheric effects that feel alive.

Painting became more than a hobby - it became my therapy, my meditation, and my joy. Especially after a full week working as an Architect, painting offers me a space to slow down, reflect, and reconnect with myself. I paint not to impress, but to express. If someone connects with my work, that’s a beautiful bonus, but the act of painting itself is what fulfils me. Watercolour, with all its unpredictability and grace, continues to challenge and inspire me every day.

'Golden Days in Adelaide' by Jayson Castor on Saunders Waterford

How has your artistic style evolved since you first began painting? Are there particular themes or subjects that you find yourself consistently drawn to?

When I first began painting, I was focused more on technique - trying to “get it right.” But over time, I realised that what truly moved me wasn’t technical perfection, but emotional resonance. 

That shift in mindset allowed my style to evolve into what it is today: impressionistic, intuitive, and deeply personal. I’ve learned to let go of rigid expectations and instead focus on capturing the feeling of a moment rather than its exact details.

I’m consistently drawn to scenes that feel familiar and grounded - streetscapes, seascapes, and landscapes. These subjects offer a sense of calm and nostalgia, and they allow me to explore light, atmosphere, and memory. Living in South Australia has been a huge influence. The changing skies, the coastal light, the textures of the land - all of it inspires me. I often paint en plein air to immerse myself in the environment and respond to it in real time.

My goal is not to replicate what I see, but to evoke something intangible - an emotion, a memory, a sense of place. I want viewers to feel something when they look at my work, even if they can’t quite explain what it is. That emotional connection is what I strive for in every painting.

As I’ve grown, I’ve also found joy in sharing my journey with others - through workshops, demos, and conversations with fellow artists. These experiences have helped me refine my voice while staying open to new ideas. My style continues to evolve, but at its core, it remains rooted in honesty, emotion, and the quiet beauty of everyday moments.

'As we approach Adelaide from Above' by Jayson Castor on Saunders Waterford

Your paintings often evoke a strong sense of atmosphere and light. Could you walk us through your process for creating such captivating moods in your work?

Creating atmosphere and light in my work is all about observation, intuition, and allowing the medium to speak for itself. I primarily paint en plein air, which means I’m responding directly to the environment - the shifting light, the breeze, the sounds around me. That immediacy helps me capture a mood that feels authentic and alive.

I usually begin with a light pencil sketch to establish composition, but I keep it loose. From there, I move quickly into the wet-on-wet stage, where I lay down washes while the paper is still damp. This technique allows colours to blend organically, creating soft transitions and a sense of depth. I pay close attention to tonal values - light and shadow are key to building atmosphere. I often limit my palette to maintain harmony and let the water do much of the work.

I don’t aim for photographic accuracy. Instead, I focus on how a place feels. Is it quiet and contemplative? Bright and breezy? Moody and overcast? I let those impressions guide my brush. Sometimes, I’ll leave areas unfinished or suggestive, inviting the viewer to fill in the blanks with their own imagination.

The unpredictability of watercolour is something I embrace. It mirrors the fleeting nature of light and mood. I’ve learned to work with the medium rather than against it, allowing blooms, backruns, and soft edges to become part of the story. These “imperfections” often lead to the most expressive parts of a painting.

Ultimately, my goal is to create a space where the viewer can pause, breathe, and feel something - whether it’s nostalgia, peace, or curiosity. That emotional connection is what makes a painting resonate, and it’s what I strive for every time I pick up the brush.

'Afternoon tea in Norwood' by Jayson Castor on Saunders Waterford

Are there any specific techniques or tricks you've developed over the years that you find essential to your watercolour process?

Absolutely. Over the years, I’ve developed a few key techniques that have become essential to my process - many of which revolve around embracing the unique qualities of watercolour rather than trying to control them too tightly.

 

The wet-on-wet technique is at the heart of my work. It allows me to create soft, atmospheric effects that are difficult to achieve with other methods. Timing is everything - knowing when the paper is just the right level of dampness to allow colours to flow without becoming muddy. I often work in layers, starting with light washes and gradually building up depth and contrast while preserving the luminosity of the paper.

 

Another important aspect is painting in one sitting. This keeps the energy fresh and the mood consistent. I find that overworking a piece can strip it of its spontaneity, so I try to trust my instincts and let the painting evolve naturally. I also use a limited palette, which helps maintain colour harmony and simplifies decision-making during the painting process.

 

One trick I’ve learned is to leave intentional “breathing spaces” in the composition—areas of untouched paper that add light and contrast. These spaces can be just as powerful as the painted areas, guiding the viewer’s eye and enhancing the overall mood.

 

Beyond technique, I’ve found that painting regularly with other artists has been incredibly valuable. We share ideas, critique each other’s work, and learn through observation. These sessions are not just about improving skills - they’re about staying inspired and connected to a creative community.

 

Ultimately, my approach is about balance - between control and freedom, planning and improvisation. Watercolour rewards those who are willing to let go a little, and that’s a lesson I carry into every painting.

What qualities of Saunders Waterford ® paper make it your go-to choice for your watercolour paintings?

Saunders Waterford paper has become an essential part of my creative process, and I genuinely believe it brings out the best in my work. As a watercolourist who relies heavily on the wet-on wet technique, I need a surface that can handle generous washes, layering, and reworking without breaking down—and Saunders Waterford delivers on all fronts.

One of the first things I noticed about this paper is its beautiful texture. The surface has just the right amount of tooth to hold pigment while still allowing for smooth, expressive brushwork. 

Whether I’m working on fine details or letting colours flow freely, the paper responds consistently and predictably. It absorbs water evenly, which is crucial for creating those soft transitions and atmospheric effects that define my style.

Work in progress
by Jayson Castor

Durability is another key factor. I often work outdoors, where conditions can be unpredictable. Saunders Waterford holds up incredibly well, even when I’m layering multiple washes or lifting pigment. It doesn’t buckle or pill, and it maintains its integrity throughout the painting process. 

That reliability gives me the confidence to experiment and push the medium without worrying about the surface failing.

What also sets this paper apart is its archival quality. Made from 100% cotton and mould-made, it’s acid-free and designed to last. That’s important not only for preserving my work but also for collectors who invest in original pieces.

As a brand ambassador for St Cuthberts Mill, I’m proud to use and promote Saunders Waterford paper. It’s a product I genuinely believe in - one that supports the expressive, intuitive nature of watercolour and allows me to focus on what matters most: creating art that feels alive, honest, and emotionally resonant.

To see more of Jayson’s work, visit: 

Website: www.jaysonkiercastor.weebly.com/artworks.html

Instagram: www.instagram.com/jaysoncastor_watercolour

Facebook: www.facebook.com/jaysoncastorwatercolour

TikTok: www.tiktok.com/@jaysoncastor_watercolour

For more about the Saunders Waterford® range, visit our website.

Printmaker Courtney Sennish on Somerset®

 

Artist Courtney Sennish brings a unique perspective to printmaking and sculpture, drawing inspiration from the often-overlooked details of urban architecture and landscapes. 

Courtney’s process involves a keen observation of found colours, shapes, and textures within the built environment, which she then masterfully abstracts into her evocative prints and three-dimensional works.

The choice of Somerset® paper often plays a crucial role in her printmaking, adding a tactile richness and subtle depth to her interpretations of the urban world, allowing the ink to settle beautifully onto its soft, textured surface. 

Courtney shares how she recently explored more shades and surfaces of Somerset® paper, including Velvet Newsprint Grey, Satin White and Textured Cream. 

“Somerset has been my favourite paper choice to print etchings for the last 10 years, but for some reason I have not explored all of the paper options… and I am so excited!”

“I mixed up some ink colours that I felt paired well with the different paper colours and surface finishes. The White paper has a Satin finish, the smoothest of the surface options. The Newsprint Grey paper has a Velvet finish, my usual go to paper finish for everything as it has a very subtle texture.  Velvet, to me, is a general crowd pleaser if you can’t decide on a surface.  And the final paper is Cream with a Textured finish.

“With etching, the paper surface smooths out in the image area under the pressure of the press but the paper maintains the visible texture in the paper margins. It is a really nice look, especially when printing with a rich black etching ink. In my experience all of the finishes print beautifully for all etching processes.”

Watch Courtney's video of printing 'Ground Cover'

“Thank you St Cuthberts Mill!  It has been so fun to explore these paper colours and finishes. Since I typically use Somerset® White Velvet paper this experimentation has opened up some new ideas for my print practice.”

Watch Courtney's video of printing 'Permeable Paver'

More about Courtney Sennish

With a strong foundation in printmaking from the Rhode Island School of Design and further interdisciplinary exploration at the California College of the Arts, including papermaking studies in Japan, Sennish's artistic journey has led her to co-found Moonlight Press.

Sennish, a trained Master Printer from Crown Point Press, has exhibited her compelling work in numerous Bay Area shows, including solo exhibitions, and recently presented her prints alongside her sculptures in "Curbside," offering a comprehensive view of her artistic dialogue between the natural and constructed realms.

Find out more 

Learn more about Courtney Sennish’s work at these links:

www.courtneysennish.com/ 

www.instagram.com/courtneysennish/ 

www.facebook.com/courtney.sennish

Find out more about our Somerset ® paper range on our website.

Artist Interview: Martin Truefitt-Baker

 

Fine art printmaker and painter, Martin Truefitt-Baker, a fan of Somerset® Satin, tells us about his creative journey and inspiration for his artwork, including his impressive wildlife reduction linocut prints on Somerset® paper.

Martin is a renowned artist working in Wales celebrated for his exquisite linocut prints. His work, deeply rooted in the stunning landscapes of the Bannau Brycheiniog (Brecon Beacons) National Park, captures the essence of the Welsh countryside with remarkable detail and sensitivity.

 

'Kingfisher, Evening Rain' by
Martn Truefitt-Baker

Martin, tell us a bit about your journey as an artist and how you came to focus on printmaking?

I’m originally from East London but first moved to Wales to do a degree in Visual Art at Aberystwyth. My practical studies there specialised in graphics, illustration and printmaking. The course was 50% Art History and my dissertation was on Edward Bawden (I was lucky enough to visit him and his studio), so I had started to develop an interest in lino printing, producing a few small prints. 

On graduating I did some illustration work back in London at first but there seemed to be little prospect of making a living (I was also working as a bin man!). I trained as a teacher in Cardiff in the early 80s and then taught in a Welsh Valleys school for the next 30+ years (Head of Department for 20+ years) to 11- to 18-year-olds.

I found teaching did two things at the same time, it honed my critical and practical skills but sapped my personal and creative energy. 

Ten years ago, I was able to leave teaching, after the school was restructured and I started making work for myself again in 2017.

At first, I was just working out what interested me and what kind of artist I was (I’m still working on that). I live in the Bannau Brycheiniog (Brecon Beacons), in the beautiful Usk Valley, so the local landscape and wildlife have had a big influence. 

Maybe if I still lived in London, I’d be making edgy metropolitan street scenes, or be more into social comment? 

Quite early on I had some work accepted into a couple of important exhibitions, which made me think that my art practice was still valuable and something that was worth investing time and energy in. I'm lucky that it is now a full-time and successful career. 

I exhibit regularly and also sell my prints online, which has opened up an international market. I still do the occasional bit of teaching but I try to keep that limited.

Another small income stream has come from my work being picked up by a few publishing companies. My print designs can be found on greetings cards and more recently a jigsaw and a notebook. These are all good advertisements for my handmade limited edition lino prints, so are worthwhile pursuing. In a way I’ve ended up as the illustrator I first hoped to be 40+ years ago. 

'Bluebell Wood Fox' by Martin Truefitt-Baker on Somerset Satin

Where does your inspiration come from for your themes about nature and wildlife?

I base my wildlife work on the animals I see where I live and only the ones I’ve seen. It is as much about my feelings towards that animal and where and when I see it, as about its physical appearance. 

'Swimming in Stars' by Martin Truefitt-Baker on 
Somerset Satin

There is often a bit of narrative, maybe that’s the illustrator in me. I try to catch some of the magic in the way the animal moves and lives within its environment, as if you were there with it running or swimming alongside, the same size, rather than observing from a distance.

The time of day and the season are very important. A fox running through crunchy white bracken on the hillside, with frosty breath, is magic. Compositions of an animal isolated in a rectangle just seem a bit of a lost opportunity.

The landscapes in my paintings and prints are real places, some become more stylized than others. Simplifying or reimagining shapes, form and colours to make a good composition is important to convey something more than a photographic reality.

An edition of prints takes me around two months to finish, from first rough sketches, to numbering and signing (editioning).

Which printmaking techniques do you find most rewarding, and why?

Most of my printed work is linocut and most of it is by reduction. A single piece of lino is progressively cut away and overprinted onto paper several times, in a succession of tones, to build up the final image. Sometimes a layer can have three or four blended colours. 

All of the colours and tones in my prints come from these layers of printing, which I think gives a cleaner, more graphic quality to the final image. I don’t fill in any areas with watercolour.

I occasionally experiment with other techniques. I’ve been making a few small drypoints and mezzotints recently. I’m trying to reflect more of the tonal softness in some of my painted work. It all helps to keep you thinking! 

I’m also impressed at how well Somerset® works for these intaglio techniques. For lino printing the paper is kept dry to print, so there is quite a difference in process

You frequently work with Somerset® paper. What qualities of Somerset® paper make it ideal for your printmaking?

As I said earlier, my reduction linocut prints are made with several layers of printing (usually between 5 and 8). I use the Somerset® Satin 300gsm for my large prints, it is perfect if you have a press (I would recommend the thinner/lighter 250gsm for hand printing) . It is robust enough to go through the press repeatedly and to take the handling involved with hanging to dry each time.

The surface of the satin paper is perfect for many layers of overprinting and takes a clean, crisp impression, so there is less tendency to over-ink or to use excessive pressure. The inks I use also dry well because of the absorbency of the surface, especially the first few layers, so there is no need to be waiting for days between rounds of lino cutting and printing. The printing of an edition can often be completed in about two weeks. I tend to use White Satin sheets, as it gives a brighter finish when making a multicoloured design, I know others prefer the warmer white (Soft White), especially if working with a single dark colour. 

Find out more

To see more of Martin Truefitt-Baker’s artwork, visit:

www.truefitt-baker.co.uk

www.instagram.com/truefittbakerart

www.facebook.com/martin.truefittbakerart

Visit Martin’s blog to learn more about making his fox print  ‘Deluge’.

www.truefitt-baker.co.uk/post/deluge 

To learn more about Somerset printmaking papers visit our website.

 

Carne Griffith's ICONS Series on Bockingford

 

Dive into the captivating world of Carne Griffiths' ICONS series, where the artist breathes new life into legendary figures of the 20th century. Through a unique blend of ink, tea, and alcohol, Griffiths captures not just likeness, but the very essence of these iconic individuals. In this blog post, we delve into the artist's creative process, exploring the inspiration behind the series, the significance of his chosen subjects, and the pivotal role of Bockingford® paper in his intricate technique.

Carne, what inspired you to create a series of ICONS?

I have been painting portraits for nearly 15 years now, but up to this point I have mainly steered away from famous portraits, or even been concerned with including recognisable people within my work. The ICONS series came about because I wanted the challenge of bringing my usual style of work to influential figures of the 20th century.

Doing so has presented a completely different challenge within my work, where capturing not just a likeness but the spirit or essence of the individual character within my painting.  My aim with the ICONS series is to create a series of 52 portraits focusing on 20th Century ICONS , which I will eventually use to create an exhibition and a deck of cards featuring all 52 portraits.

Which piece from the ICONS series holds the most personal significance for you, and why?

Out of those painted so far, the Bowie piece definitely resonates the most.  I grew up surrounded by his music and his creativity provided a background to my youth.  What I love about Bowie is the changing personality and the way he created characters throughout his career,  I tried to select a reference image that was closer to the man himself than to one of his portrayed characters.  The hush image just seemed perfect to capture his spirit and I really like the way the piece played out.

Your work, including the ICONS series, heavily features Bockingford® paper. What qualities of Bockingford® paper make it so essential to your artistic process, especially when working with ink, tea and alcohol?

Yes, about 95% of all work I create uses Bockingford® watercolour paper.  I was lucky to discover this paper early on and it had a huge effect on how I create my work.  Bockingford® seems to handle the materials I use in a very different way to other papers.  There is a vibrancy and a crispness to the work that I just cannot achieve with other watercolour papers.  I use the 535gsm CP (NOT) paper and I normally stretch this on an open aluminium frame, this allows me to dry the paper from the back and to occasionally embroider elements through the back of the paper while stretched.

The process I use involves more of a staining than a painting of colours.  I pile on a lot of liquids, teas, alcohols you name it, and the surface of the paper just holds up every time. The depth of colour is achieved by the slow absorption of these liquids and only Bockingford® paper will give me the desired effect with the dye colours and liquids that I use, it is also really important to me that the surface of the paper holds up after applying these liquids, as the next part of my process is to draw over the work with fountain pen inks.   I find that Bockingford® will maintain a crisp line more so than others I have tried, and to be honest I haven't felt the desire or need to move away from this paper in 15 years!

What do you hope viewers take away from experiencing your ICONS series? What emotional or intellectual response are you aiming for?

ICONS is a fun light hearted series and the people who connect with these pieces will probably be the same ones that have a feeling of nostalgia, or are fans in some way of the portrait painted.

Most of my studio work is about creating a dialogue about our relationship with nature and though this is an underlying theme in all my work, the ICONS series is definitely a more playful approach that focuses more on this nostalgia and celebrity. I hope the work creates a dialogue about what we consider an icon to be and for me this is very much a visual thing.  I don't really believe that someone can be considered iconic without a very strong visual presence.  I know that people will be disappointed if someone doesn't make the list, but the further through the series I go the more fun it will be to have the conversation about who will be painted next!

Links

If you would like to follow the creation of the rest of the ICONS series, sign up to Carne’s socials or subscribe to his website for updates.

www.carnegriffiths.com/ 

www.instagram.com/carnegriff

www.facebook.com/CarneGriffiths

www.youtube.com/@100sqft 

x.com/carnegriffiths 

To explore more about the range of Bockingford® paper visit our website.

Artist Interview: Cindy Wider

 

We talked to Cindy Wider, a celebrated Australian artist and author, about her exciting new children's book. Known for her dedication to fostering creativity, Cindy is now sharing her artistic vision with young readers through an enchanting tale filled with whimsical characters and colourful illustrations. Cindy shares her inspiration, creative process, and why she loves Saunders Waterford®. 

Cindy, tell us about your art practice and your journey to get to where you are now.

I was born in Brisbane Australia and grew up on the island of Papua New Guinea. I’ve been a full-time artist, illustrator, author and online drawing mentor for over 32 years (since the age of 23.) I’m the founder of DrawPj.com and Cindy’s Drawing Club where I present my ‘learn-to-draw and colour’ videos, books and mentoring online. 

I teach mostly retired women around my age; 55 and over, from a selection of 7 different mediums and 5 art styles (depending on their own unique areas of gifting, interests and needs.) Just over 7 years ago I began to transition from the world of fine art (where I was award-winning and gallery-represented) into the wonderful world of children’s picture book writing and illustrating. It’s been a huge transition and nothing at all like I first expected. I surrounded myself with some amazing experts in the industry who have helped me along the way. My first children’s book has just been published!

What was the inspiration for your children’s book? 

My husband and I, along with our two young daughters moved to England in 2013 to live nearer to his parents and family. It was so different to the endless blue skies, bright, tropical foliage and white sandy beaches of the great Australian beach lifestyle that had inspired my subject matter as a fine artist. At first, I struggled to make a connection to place in England.

After a short while, however, I soon became fascinated with the tiny details, textures and patterns like the rows of stone walls neatly dividing the hillsides. They looked just like giant patchwork quilts. Then there were the cute stone cottages with their snow-capped chimneys and warm glowing lights shining out from the windows. I was in awe of seeing real Holly and Ivy growing in the streets. I felt like I was stepping into a real-life children’s picture book that I’d read and enjoyed so much as a child.

Then, when we visited the Lake District, I experienced this deep nostalgic feeling of mystery and wonder. My imagination from my childhood suddenly awakened and came alive! I began thinking of all the little animals that might be living there and the exciting adventures they might go on. 

The very first characters I created were soft, fluffy little clothed anthropomorphic kittens. I always had a cat growing up, so it made sense to begin there. I called them the ‘Cuddleecats’. The rest is history. I was smitten by the world of children’s picture book illustration. 

Here I am today with my first Children’s book just published 7 years after leaving England. This book is the first in a series of Cuddleecats books that I intend will follow, and it’s titled ‘Mummy’s  Biggest, Best Birthday Surprise Ever!’ 

The setting of the book is an imaginary place called ‘Cuddleton Village.’ It’s a very special place deep in the English Woodlands. A place where no human has ever been. The stylisation is inspired by the golden age of illustration with a vintage feel and a touch of modern times sprinkled in.

Do you have any tips for other artists looking to be self-published?

I’ve published my own book because I had a very specific artistic vision that I wanted to accomplish. My biggest tip (if you choose to self-publish) is to be prepared to surround yourself with experienced professionals if possible. For example, you’ll need an editor, a book designer, a reliable and quality printing company. It’s a great idea to be a member of various organisations to support you with things such as learning resources, networking opportunities, community support, information on how to price your illustrations etc. I highly recommend SCBWI (the Society of Children’s Book Writes and Illustrators) and ASA (Australian Society of Authors), which is for illustrators as well. 

What is your go-to paper for illustration, and what qualities in paper are important for your work? 

My absolute favourite paper is Saunders Waterford Hot Pressed High White 425gsm (200lb). I have very carefully chosen this specific paper after many experimentations because I need a paper that is robust, reliable and smooth enough to allow a beautiful even spread of colour. My chosen paper also needs to have enough texture to hold several layers of colour; first inks and then once dried coloured pencil on top. My favourite thing about Saunders Waterford is that there are no surprises in the texture; I can rely on it to perform for me time and time again. 

Cindy Wider’s Cuddleecats book ‘Mummy’s Biggest, Best Birthday Surprise Ever!' is available for purchase on her website www.cindywider.com.

For more information about Cindy’s Classes and mentoring: 

drawpj.com

Links

www.youtube.com/@CindyWiderArtist 

www.instagram.com/cindywider

www.facebook.com/DrawPj

www.facebook.com/CindyWiderArtist

To learn about our Saunders Waterford range, visit our website.