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Jan Provoost, Triptych with the Virgin and Child, John the Evangelist and Mary Magdalene, date unknown, (active 1464-1529), oil on canvas, 44 x 30.5cm, copyright Rijksmuseum (loan).

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A gem. Three small hinged panels create a very personal and intimate space for devotion. Precious materials used and represented, and the setting - Provoost's local landscape?

The triptych form worth exploring in itself.

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Jan Provoost Triptych with the Virgin and Child, John the Evangelist and Mary Magdalene

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This painting is part of the Mauritshuis Collection in The Hague, The Netherlands. Please visit our website for more information about this work.

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Lubaina Himid, Five, (from Revenge series), 1991, acrylic on canvas, 121.8 x 152.3cm, (copyright the artist).

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The conversation seems to be an important one. I would love to listen in. Everything on the table feels significant. I like the use of contrasting colours and the high viewpoint.

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Richenda Court RE, Shilo, 2024, linocut on paper, 15 x 20cm, (copyright the artist).

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I admire Richenda's 'simpler' linocuts like this one, with bold contrasts of tone.

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Richenda Court RE Shilo linocut Frame: 35 x 41 cm Artwork: 15 x 20 cm

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Edmund de Waal, breathturn, I, 2013, 476 porcelain vessels in aluminium and plexiglass cabinet, 229.7 x 300 x 10cm, (Copyright the artist).

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His vessels are like letters and words, and the spaces between them like silences. I read The White Road - his words are powerful and lyrical too. I'm interested in how artists document their work and ideas.

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Dyeing on organic fabrics like silk and cotton - useful guide.

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I experimented with rust dyeing a few years ago and came away with some beautifully transformed pieces of fabric. I use these to bring texture and colour into the photos of my ceramics, and because they’re so striking I’m always asked how/where/what about the material or the process.I love DIY and sharing what I know-

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Merlin Chesterman, The Gap iii, 2020, woodcut, 42 x 42cm, (Copyright the artist).

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Precision cutting creates movement and dynamism.

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Vittore Carpaccio, Two Venetian Ladies, c 1490, oil on panel, 94cm x 64cm, (Museo Correr, Venice).

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What an observer he was! Jan Morris writes in Ciao, Carpaccio, (Pallas Athene, 2014), about how she stood in front of this artist's work and felt a direct and slightly gossipy connection across time. I had the same experience.

Carpaccio drank in every detail of life in the buzzing port of Venice: the colourful characters, the exotic outfits, the travellers from far across the seas. I share his curiosity about people, and the small details of life.

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This is a good way to introduce 'secret' or quieter elements into a linocut print.

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Linocut Printing with NO Ink! Blind Embossing by Hand and by Press

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Dame Barbara Hepworth, Forms (West Penwith), 1958, oil paint and graphite on hardboard, support 642 x 635 x 40, (Tate/ copyright Bowness).

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I enjoyed touching & exploring her sculptures in the garden at St Ives. Never knew she produced such wonderful drawings until now .. Useful reference for layering/flow of forms.

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'Forms (West Penwith)', Dame Barbara Hepworth, 1958 | Tate

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'Forms (West Penwith)', Dame Barbara Hepworth, 1958

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The movement of people adds to the drama created by shadows. Light & darkness, and an environment changed by the visitor.

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A major solo show from one of Britain’s most acclaimed contemporary artists

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Leonor  Fini, The Guardian of the Red Egg, 1955, oil on canvas, 81 x 65cm, (Collection Suzanne Flon, Paris).

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The figure is set in profile against a dark background, and seems luminous by contrast. The egg is shown being carried with great reverence, and clearly has significance and value. Enigmatic & compelling. I like the element of mystery.

Argentine/Italian artist.

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John Muafangejo, We are drinking Ovambo Bier at Eliakimas in 1977, (1977), woodcut, size unknown, (copyright the artist).

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For me, the best linocuts and woodcuts play about with tones just as much as lines.

I love the 'local', specific nature of the heading - this is a familiar place for the artist.

A reminder to cut in a bold way, and consider the possibilities of lettering/narrative in print.

African artist (Namibia).

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John Muafangejo | WE are drinking Ovambo Bier at Eliakimas in 1977 (1977) | Artsy

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From The South African Print Gallery, John Muafangejo, WE are drinking Ovambo Bier at Eliakimas in 1977 (1977), Linocut, 34.9 × 27.5 cm

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Ethiopian photographer, whose work sometimes resembles paintings.

Explore her approach to setting up an image - bold colour blocks, figures silhouetted against them. Costume, masks, dramatic & enigmatic poses.

An invitation to play with surreal photographic images?

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Petrus Christus, A Goldsmith in his Shop, 1449, oil on wood panel, 98 x 85.2cm, (Metropolitan Museum of Art).

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Not only is every surface in the shop rendered to perfection, but there's a story here. And the depiction of a convex mirror lets us glimpse another world outside the shop - a useful device to explore - the picture within a picture.

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Dagmar Binder, Gathering, 2019, merino wool and tussah silk, wet felting. 80 x 105cm. https://www.textileartist.org/5-contemporary-felt-textile-artists/

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Based in Berlin - sculptural felt work. I like the single tone of this and the way it's built up of scales. Reminds me of mussels on a rock.

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Visited her retrospective at the Hayward Gallery on 25.10.24. Very varied work.

Use of moving shadows cast by Venetian blinds.

B&W Photo collages with surreal elements.

Collages using washi paper with dark background paper showing through, and fluttering fringes made from fine tissue.

Use of floor: markings indicate where the sculptures should move when they are 'activated'. How do I feel about sound and movement elements being silent and static except on Saturdays?!

Enormous straw and raffia sculptures, like mysterious idols.

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Mary Watts used her art training to teach members of her local community art and craft skills. The result is complex, quirky and highly charged with symbolism.

https://www.google.com/search?q=watts+gallery+chapel+how+the+interior&oq=watts+gallery+chapel+how+the+interior&gs_lcrp=EgZjaHJvbWUyBggAEEUYOTIGCAEQRRhA0gEJMTE3ODdqMGo3qAIAsAIA&sourceid=chrome&ie=UTF-8#fpstate=ive&vld=cid:5638eff0,vid:VbeotqAwtAc,st:0

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William Blake, Pity, c. 1795, colour print finished with ink & watercolour, 54.5 x 77.5cm, (Tate, London).

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I love that he wrote such powerful poetry and then wove images around and through it. Also that he developed his own mythology, and with his wife, Catherine, created new approaches to printmaking/hand colouring to express it.

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Aïda Muluneh, Idle Whims, 2018, photograph, 80 x 80cm. (Copyright the artist.) artsy-net/artwork/aida-muluneh-idle-whims-1. 

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Look at her other work - https://www.aidamuluneh.com/artworks. She uses make up and costume, brightly coloured fabrics and backgrounds, usually a single, bold colour without pattern against which figures are set. Ethiopian artist, who incorporates surreal elements in her work through costume, masks, tableaux.

African artist (Ethiopia).

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Anita Klein, Nige Looks for the Free Toy, 2005, drypoint on paper, 445 x 380cm (copyright the  artist).

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Anita Klein's work is personal, particular, often humorous, tender and intimate. Her black and white prints interest me far more than her current full colour ones, because they make bold use of pattern & tonal contrast. They look deceptively simple, but they are complex in their composition.

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I find this technique maddening, but the end result is striking. Good projects which have/suggest different levels of meaning. It's too easy to leave a tiny bit of fabric free floating though - advance planning required!

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Trace, Baste, Snip & Stitch Reverse Applique Tutorial

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Try this reverse applique technique by Margaret Brewster Willingham

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This technique is on my wish list.

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SHIBORI INDIGO DYEING | Tutorial for 11 Shibori techniques.

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A technique that seems almost magical. I'd love to try it.

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Beginners Guide to Starting Out with Gold Leaf | Bromleys Art Supplies

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Alison McIlkenny explains the process of applying gold leaf and using it in paintings as well as sharing the differences between genuine and imitation gold leaf.

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A dying craft, and one that taps into my interest in secret/hidden things. Would love to learn.

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How Fore-Edge paintings are done  - a masterclass