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Greece: Time to return? — Lynne Cameron Artworks
This recently published webpage: Greece and painting and me reminded me of how much I love Greece. It is a while since I was there - the pandemic happened with all the life-upturning it set in process. And then airlines in a mess, and global warming, made me think twice about extra travel beyond
usually right ... what, me? — Lynne Cameron Artworks
I’ve been preparing for an upcoming workshop which will provide a space for exploring intuition, what it sounds like, how we pay attention to it, via the process of painting. And I’m currently reading this book, after hearing Lucy Easthope talk about her work in disaster planning on a podcast. It’
Becoming an artist: responding to Simone de Beauvoir (3) — Lynne Cameron Artworks
In The Second Sex, Chapter 14 The Independent Woman, Simone de Beauvoir offers a devastating critique of the problems facing women who want to be artists and writers. Much has changed since she wrote it in 1949, but also much has stayed horribly familiar. In earlier posts, I’ve shared how I’ve
TURN, TURN, TURN: responding to Simone de Beauvoir on creative work (2) — Lynne Cameron Artworks
In my previous post on The Second Sex and what it has to say about women’s creative work , I showed the technique of OWN ~ TURN ~ OWN. In this post I share the quotes and ‘turnings’ that I extracted from Chapter 14 The Independent Woman. They are offered for anyone who wants to do their own wor
Why these workshops, why now? — Lynne Cameron Artworks
For years, I engaged in rational, analytic study of metaphor and empathy in dialogue. Despite my best academic intentions, the imagination resisted being quietened. In the middle of life, after cataract surgery, I plunged into painting. Years of painting that required an intensive search
OWN ~ TURN ~ OWN: Responding to Simone de Beauvoir on creative work (1) — Lynne Cameron Artworks
When I read The Second Sex , Simone de Beauvoir seemed to unroll my life experience like a map of the world, pointing out continents and oceans, showing how routes across this world of my life were somehow predictable. She showed me centuries of history and myth that made this inevitable. She gave
How do we belong to the world? — Lynne Cameron Artworks
“In what ways do we belong to the world?” This question lies at the core of the work of John Berger, according to Nikos Papastergiadis in an essay Forest ( A Jar of Wild Flowers: Essays in celebration of John Berger, 2023, p.83.) Such a profound question ~ It’s a question that helps
Investigations continue — Lynne Cameron Artworks
The work of self-knowledge and understanding is never done. It guides and informs everything. This quote, from an academic paper on self, identity and the danger of narrative*, spoke to me - and with a recent painting that is called Interference , (acrylic on raw canvas, 60 x 80cm). Other sources
Midnight Blue — Lynne Cameron Artworks
In the beautiful Oxford Botanic Gardens, I was sitting in rosy sunshine contemplating the possibility of using plant dyes in painting. A core colour in my artwork is the dark steely blue of indigo, and, yes, there was an indigo plant in the gardens. A helpful gardener showed me where to fi
Refound — Lynne Cameron Artworks
We found the leaves pressed between two pieces of kitchen roll inside a book that I left here in NZ in October 2020. I have no memory of their collecting, pressing, laying aside. Refound, they are making new memories as she turns 6, as she creates and owns her artwork.
Deep Looking — Lynne Cameron Artworks
Several years ago, I gathered a set of questions to support people looking at paintings. The power of attention and noticing has been important in all my work, academic and art. Visual attention as a painter is different from the aural and analytic attention I needed in my research into spoken metap