The gaps engineer breathing spaces in the painting that encourage an additional dialogue within and around the work. Whilst the three-dimensional planes of the plates engender an alternative viewpoint, the ceramic forms deliver shadows and highlights creating intriguing faceted elements that change with the light. Embracing the Japanese concept of Ma, where each negative space is as valuable as the positive, each void adds meaning, balance and rhythm to the painting.

The concept for the painting is developed and then the lengthy process of sourcing the exact combination of antique ceramics to build the platescape is commenced. It is not only the shape and size that matters, but also the clay, the age, wear and marks.  Decoration, colour and subject are also key, as all contribute to the success of the composition. Each element is well researched before the final painting is planned.

The language of the old cloth is harnessed to enhance the pictorial narrative. By using the characteristics of antique material as a canvas, it becomes a contributing value to the work. The ancient hand woven cloth, with its attractive vagaries of the hand made process, is extolled in each celebration of the selvedge, hem, join or seam. Antique embroidery, cutwork and lace are employed in some paintings, where this extra attribute is appropriate and prized.

The pattern on the original plates is fundamental to the concept behind the work. Whether traditional bucolic scenes in Toile de Jouy style or massed florals, the aim is to guide the subject matter and enhance the final composition. From a distance the overall effect is harmonious, but on close inspection the miniature details are revealed. The manipulation of scale adds further depth to the engagement.

Creating art with a multi-layered ambition has always been a preoccupation. In 'Breathing Space' I have found a challenging format that embraces my passion for both painting and form.  The platescapes add a 3D perspective that bridges the gap between painting and sculpture.

Blue Vase

An original still life oil painting on a collection of 7 pieces of antique china.  The painting features preserved eucalyptus leaves and dried craspedia flowers in a blue vase with an orange and lemon, becomes disjointed and yet enhanced, as the narrative is rewritten in the breathing spaces.

Materials:

Ceramics

7 pieces of antique crockery

• Pair of antique Booths tureen plates in the Princess pattern. Semi porcelain Rd. 183173. 
• Victorian tureen plate no.186329
• Antique tureen semi-porcelain plate no.345664
• Booths 1906 moon side plate in Lowestoft Border design
• 1886 saucer Pre Shelley Old Foley Rd. no. 49676 (3645)
• Victorian Childs doll house plate with willow pattern

Cloth

Old linen tea cloth - hem used to suggest a frame

Paints

Michael Harding UK: professional hand made, ethical oil paints.

Hanging
Each part of the painting is supplied with a plate hanger.

A life size plan, showing the exact location for hanging each composite piece, is provided.

Dimensions of composite painting: height 63cm x width 56cm

Fishing

An original oil painting on a collection of 4 pieces of vintage china.  The painting features freshwater fish swimming in a golden pool of light where the breathing spaces add another layer of disjuncture. The narrative is enhanced with the bucolic scenes of fishermen on the vintage plates.

This artwork was launched at The Gallery, 23 Lees Yard, Holt NR25 6HS in the Fired Earth exhibition 31st October – 10th November 2026.

Materials:

Ceramics

4 pieces of vintage crockery

• 1930-40 Royal Doulton 'Norfolk' dinner plate
• 1950-60 Crown Ducal 'Bridge Scenes' dinner plate
• Vintage Alfred Meakin 'Queens Castle' oval serving platter 
• Vintage dinner plate

Cloth

1800s French peasant flax cloth - grown, spun and hand woven by rural folk - hand stitched hem used to suggest a frame

Paints

Michael Harding UK: professional hand made, ethical oil paints.

Hanging
Each part of the painting is supplied with a plate hanger.  A life size plan, showing the exact location for hanging each composite piece, is provided.

Dimensions of composite painting: height 71cm x width 61cm

One of the delights of painting with oils is the meandering journey that lets you experiment and fail. The small wins are precious and deliver joy. I have always had a buzz from learning, so painting feeds that in a quiet, understated way that keeps me curious. It's not just the activity that is so absorbing, it transports you to another world, it is also the thinking. The thinking requires not just a collective memory bank of skills, but an enquiring mind and willingness to take risks - what if I...?  It is a constant problem solving exercise and the search for resolutions can be taxing.  Even after all these years, there are conversations in my head about risk taking and rising to the challenge, underpinned by the "You CAN do this" mantra.

                                         

                                               

And what happens when the result is not even satisfactory? The task of 'making it right' can form a loop that becomes a bottomless rabbit hole of intense pushing. One is often unaware that this is taking over.  Step away, give both time and distance to the issue. Then refreshed, this could be hours or weeks later, judge it anew and matters have often shifted. Now that troublesome area is actually quite good, whilst the bit that you were pleased with before is alarmingly wrong!

With oils, time is your friend. I have painted with all the different media over the years - experimenting, playing and analysing each material and technique for its foibles. Each media has its own attractions and limits and finding one that connects is key to building a deep relationship. I first tried oil painting at an evening class I attended aged 19 - I timidly brushed the paint with little strokes from a little brush. At art college, oils were never discussed, whilst the more instantaneous acrylic paint was favoured. I returned to oils years later as my fascination with building texture and form on a 2D plane became a focus. A palette knife and thick oil paint now provide endless possibilities and happiness. But with oils, time is also not your friend if you are impatient. Impasto painting demands lengthy drying times which can be frustrating when the next layer of engagement is beckoning. I have learnt many times that muddiness awaits if you revisit a wet painting too soon. All that squishiness is delicious, but be aware of the trap of impatience.

.                                  .           

Letting go is one of the hardest things. A painting that just isn't working, but has delightful elements is a conundrum. Should I continue or just start again? When to push through and when to move on, is still a dilemma. It is at this point I ask myself "What is the value of continuing?" Obviously, the answer should inform the decision, but often there is a niggle remaining. Is that the vagaries of the creative brain or something else?  Ultimately, deciding is a choice only you can make. I have found that what one may consider helpful opinions from others, usually are most unhelpful.  Yes others views have value, but its the artist that must exercise omnipotence over their work. After all, a painting is an artist's statement of self expression.

                                   

It is always a pleasure when a client decides to commission an artwork. Some clients have a very clear idea of their requirements, whilst others need assistance.  I have spent over 30 years of working to commission and enjoy deciphering what is really desired. This blog post is to simply explain the process, so you know what to expect.

Here's a list of things to consider when considering commissioning an artwork:

1. Budget - it is helpful to have some idea of how much you want to spend at the start. Realistically, this can change as the commission is discussed and options are taken. Don't be concerned about raising financial issues - it's a discussion, not a contract at this stage.

2. Schedule - is there a specific date that you need the artwork for eg. a birthday/anniversary etc. or is just as soon as possible?

3. Subject matter and style of execution. 

4. Materials

5. Size - if you're not sure what size would work best, then experiment with paper cut to size.

6. Location  - where in a room is the best place to showcase the artwork?

7. Light sources - is there natural light, is the work likely to fade, do I need specialist lighting etc?

After all the points above have been discussed - a plan is agreed. 

It is important to have a simple agreement drawn up to make the process straightforward and transparent.  Below is a summary of the process.

The basic commissioning process

1. We agree a brief, cost and timeline.

2. A non-returnable deposit is required to schedule the work - usually 50%.

3. The materials are ordered.

4. The painting/drawing is researched and executed.

5. The finished work is shown to you for feedback.  Any alterations are made. The painting/drawing/plate or photo of the revised final picture is shown to you.

6. The work is then framed if relevant.

7.  On completion, we will agree a convenient collection date and location.

8.  The balance of the fee is required at completion.

Commissions vary widely in size and content - a recent one was quite specific, so I was delighted when the client emailed this to me,

"It's beautiful. I love the light on the horizon and the movement in the waves - you have captured exactly what I wanted but was having difficulty articulating."

Seascape - 'The Best of Days' encaustic painting for client Dr. W.

If you would like to discuss commissioning a piece of art,

then please get in touch.