Continued working on "Journey Through A Landscape".  Most of the background components have now been completed.

Working out some formats for a new series of Meditative Process Art works.

I have, for all intents and purposes, finished the first "Journey Through A Landscape".  All the remains to be done is painting in the perimeter and firm up some of the lines.  I may not over do the latter.

Painted for half an hour!  I painted the perimeter of both versions of "Journey Through A Landscape".

I totally completed the painting now called SCENIC PROGRESSION  ("Journey Through A Landscape").  Because I work relatively close to the painting close to a window my work always appears darker when seen on my "Drying Shelves" on the opposite wall.

I started work on the second SCENIC PROGRESSION.

Only painted for an hour today as I spent the day out with June, my wife.  I almost finished SCENIC PROGRESSION 2.

I finished the second SCENIC PROGRESSION 2 (which took much more time than anticipated) and then touched up the first version.  The rest of the day was spent in paperwork and art orientated odd jobs.

I spent all of today cutting, preparing and priming hardboard panels for a new series of smaller  works.  I am contemplating working in a rather wide range of styles during the next few months (all being well!).  More anon.  I am also beginning to prepare canvases for a series of larger scale paintings.

I am still working out ideas for two works based on moving railways locomotives in a landscape.  The works will have points of similarity with my much earlier LANDING BIRD BEFORE TREES series.  I want to indicate movement and use this representation as a sequential structure to hold emblematic images of speed, technology and modernity.  This will overlay a static presentation of the natural world, possibly "fundamentalised" by abbreviated imagery.

Bad day today as there was no time to paint.  Although I am still working out options for the new series of works.

I am working on the drawing stage for a new landscape entitled simply COMPTON ACRES.  This is a return to my "Meditative Landscape" style of 1999 when the subject matter was either the gardens of Compton Acres or Stourhead.  I create shapes and structures derived for the initiating imagery and float or attach motifs within these that record my responses to the scene.

Easter Bank Holiday so I am afraid I only did fifteen minutes art work today.

I missed the submission deadline for the Marlborough Artists Annual Exhibition yet again!  I have missed the deadline for every event I have considered participating in this year - although I am hoping that Marlborough Artists are used to me and will make allowances.

I had to do extra hours in the art shop today so, alas, no painting.

I am moving forward on a wide front at the moment.  As well as, reluctant, portrait (etc.) commissions; I am continuing to redo and then evolve the "Wing" surrealist works; further explore the "Meditative" landscapes - with a number of new stylistic innovations which allow a greater linkage between observation and system based analysis, work on a series of reappraisals of old master paintings or subject matter and (belatedly) return to my more intellectually rigorous "Meditative Process Paintings.

I have spent all of today on preliminary drawing in (using pencil) of background structures for a new series of paintings.  I am working on a large number of pieces simultaneously - all with different formats: some have sequences of interacting squares holding the images while others are built from repeated circles.  Yet others utilise a grid structure to control the image streams.  I am also beginning some new "Wing Works", although progress has been slow on these to date.

I have two modern art commissions which I am researching at the moment.

Another extra day in the art shop so no more painting this week.  I did manage to start some sketches for paintings I hope to begin later in the year.  These are in a romantic figurative style.

An hours work in the middle of the night - this is unusual for me.  I was working on the drawing stage of a new format Landscape/Process Painting.  I am beginning to extend the "Meditative Landscape" concept, although I am working on quite a small scale so that the finished works are easily copied.  This series of works comprises of horizontal or vertical bands into which are laid images symbolising or representing aspects of the natural world.

I have also done some structural sketches for some more minimalistic Process Paintings with a condensed developmental strucuture (of various kinds) occupying just the centre area of the canvas.

Spent a large part of the day drawing the geometric structures, in pencil, for more Landscape/Process Paintings.  This appears more time consuming than it should be!

I restretched 4 linen canvases -  initially for minimalistic meditative works but possibly something else.

I worked all day on the preliminary drawing in (using water/linseed oil thinned watersoluble oil paint) of a new Manfred Wing painting provisionally entitled: MEMORIES OF HAM CLOSE - VIEW FROM STUDIO WINDOW.  This is one of a pair of paintings, the other being a copy of a painting originally done in 1976 of the same subject - painted in the humerous surrealist style I was using at the time.

I worked today on the other of my early studio window paintings entitled (surprise, surprise!): VIEW FROM STUDIO - HAM CLOSE, 1976.  I did most of the drawing in today, again with diluted water soluble oil.  As it turns out, the painting is quite a loose copy of the 1976 original although much of the main iconography remains.

Bank Holiday spent in the garden so very little work.  I did prime 4 canvases for future works and also completed a couple of pages of studies for sculptures.  Knowing me, the latter will probably never be realised.  I have completed thousands of pages of ideas for sculptures and related studies - none of which are likely to be constructed.  Possibly just as well!

A day out with my wife, June.  No painting but a little researching was done and some playing with ideas.

I did the drawing in for two Wing landscapes, both provisionally entitled LANDSCAPE FOR JOAN OF ARC.  They were based on the background of an early work called "Small Portrait Of Joan Of Arc.  They are basically simple views comprising a variety of geometric elements.

Called in to cover for staff absence due to illness in the art shop so no work yet again!

I did the drawing in (water soluble oil) of a "second generation" Wing Work.  Provisionally entitled THE YOUNG DRYAD, it is very loosely based on a painting completed in late 1976 called Lady Of The Forest.  The new version is a highly stylised figure merging with a wooded background.

Also started to paint in another, very simplified landscape, made up of repeated bi-coloured circles.  This alludes to an abstract style I was exploring from the end of 1976 to 1978.  The works comprised of repeated circles placed close together, usually with smaller circles inside.  I planned to do very large scale canvases but most of the work still extant is in the form of multimedia works on paper.

I modified the drawing of the second (more patterned)  LANDSCAPE FOR JOAN OF ARC.

Completed the drawing in (now usual water soluble oil) of the circle based landscape.

I sketched in loosely, in pencil, a basic composition of another two new works.  Each is based on railway scenes and incorporates symbols sequences and abstracted passages to iconographically fix machine and movement.  Started drawing in one of these works - as it turns out the less finished and more open work.

Finished the drawing in of one of the "Railway Scenes" and started drawing in another.

Making notes for a possible series of landscape reliefs.

I did a couple of hores work today, in between gardening.  Continued drawing in the second Train Picture.

I am working on 18 paintings at the same time - most is disparate styles - which is a lot even for me.

Finished the drawing in of the second Train Picture.

Quickly drew in with pencil and then started to go over with paint two more small landscapes.  One consists of superposed diagrams and the other, more conventionally, of calligraphic lines.

Not a truly productive day as I spent most of the morning getting my computer memory sorted out.  This was followed by the customary playing around with the now enhanced options.

However, in the afternoon I finished the drawing in of the second landscape and I then did the drawing in (quick spontaneous pencil drawing followed by water soluble oil paint) of a PORTRAIT OF THE ARTIST'S WIFE.  This utilised the grid structure of some of my recent landscapes plus lozenge compartments for iconography.

Touched up the drawing of the second Train Picture then started painting in.  The colours are slightly removed from life.  The work itself is less directly connected to the intitiating sources then the first one.

Bank Holiday today; however I planned to spend the afternoon painting - didn't happen though as I spent all day in my greenhouses!

Spent most of today going to, coming from and stewarding an exhibition in the St. Peter's Church arts Centre.  It is a lovely venue but was very quiet today.  I sold a work from the show last week however.

Started doing a pastel/pencil sketch of the Jubilee gardens in Marlborough while waiting to go to St. Peter's.

I now have an evening part time job which should allow me time to paint.  However I am still working at the art shop on saturdays and possibly some weekdays.

I started painting in one of the "Train Pictures".  I am not happy with the layout of either work and I am undecided on how realistic the colours will be.

Finished the first layer of paint on the "Train Picture" ie. the board is completely covered in paintand awaits the painting in of the relevant symbols and other thematic material.

Started painting in of the second "Train Pictures".  This version, which comprises of a train emerging from under a bridge dragging behind it a sequence of coloured blocks containing figurative images and symbols - which relate to journeys and passengers of all kinds.  Railways were a boyhood interest and looking back the pictures could be metaphors for the journey through life.

I did a couple of hours painting today before disappearing in the garden.  I am still working on "Train Picture No 2".

I finished all the background painting of "Train Picture No 2".  Some alterations may be needed however.

I need to start work on some more approachable landscapes for a possible local exhibition.  This will mean leaving temporarily the vast array of other works I have recently started!

Started painting in one of the recent small landscapes.  This one is entitled ROMANTIC LANDSCAPE - CHORDAL INVERSION.  Unusually for me, it is a spontaneous abstracted composition.  Painted with a fairly conventional palette.

I finished ROMANTIC LANDSCAPE - CHORDAL INVERSION and then started painting in another landscape which was begun last month.  The latter, one of the "Joan of Arc" series and (still!) entitled LANDSCAPE FOR JOAN OF ARC.  As the work is based on a very early portrait I began initially to explore strange landscape colours but the colour scheme got more conventional as work progressed.

Finished the "Joan of Arc" painting, changing the title in the process to LANDSCAPE FROM A PORTRAIT OF JOAN OF ARC.

Started the second "Joan of Arc" painting.  This one more closely resembles the background landscape of the original painting - with all the divisions having an infill of circles which contain geometric structures and symbols.

I finished the second LANDSCAPE FROM A PORTRAIT OF JOAN OF ARC.

I also started painting in a more difficult landscape where spontaneous symbols are contained within a complex grid like structure which is loosely based on elements of a countryside scene.  Although not painted from either a photo or from life it relates to the landscapes I have been painting recently.

I finished the first layer of painting in of the new landscape, now entitled LANDSCAPE - EXPOSITION 13217.

I then turned to repainting the the main colour blocks of one of the Train Paintings.  Something I continually bring to my own attention, and then cast aside,  is how easy it is to paint with thinned colour.  I tend to use oil paint straight from the tube which I then manipulate with both ends of the brushes. However blending is considerably easier with diluted colur.

I finished LANDSCAPE - EXPOSITION 13217 today.  I am happy with the general scheme of the painting.  There is a very high degree of spontaneity in my more recent sequential work.  I have ceased to use an intitiating image/s but rather utilise a combination of spontaneous symbols; in this case relating to elements of landscape such as hills, trees, cloud formations etc.  These images recur and/or metamorphose in a variety of ways. 

Worked today adding symbols and thematic or "decorative" elements to the other Train Painting.  I am filling up the main structures with small symbols and diagrams; some of these refer to the environment and the others relate to time, speed and interaction.  Although ostensibly about a representation of mechanical invention and power the paintings have underlying themes relating to man's mortality and social "realities".

To use up some paint I then started painting in the background of a portrait of my wife.  This painting relates to some recent landscapes, with a grid structure into which colours and images are arranged.  This work is a compromise or half way house as it still has immediately recognisable features.

I did half an hour of painting and preparing panels today in between time spent in the garden watering plants and enjoying the sunshine.

The panels will be for a series of more accessible landscapes which I hope to paint during the summer months.

Continued adding the final details to both of the "Train Pictures" - although I also did a lot of repainting of the background and structural elements.  I am still not totally happy with this.

Primed the 6 small hardboard panels with Liquitex Gesso.

More adding of final details and more repainting of backgrounds of "Train Pictures".  I thought I would complete the paintings by midday Monday!

I have finally completed the "Train Pictures"!.  They are now entitled SPEEDING TRAIN and TRAINS FAST MOVING.  I am still not totally happy with them.   I sketched in the main compositional elements too quickly - hence the continual repainting.

Started painting and almost completed THE ARTIST'S WIFE IN A CHRISTMAS PAST.  It is nice, after a long period of landscapes (which although modern in style have colours which relate to the source)  to have room  to experiment with colour combinations.  The experimentation is fairly modest in this work although much more adventurous work is planned. This painting comprises of spontaneous symbols laid between a grid like structure derived from facial features.  Again more radical works in this style are planned.

I completed THE ARTIST'S WIFE IN A CHRISTMAS PAST - which actually only needed the perimeter painted in.

I then painted the perimeter of Wing's next work entitled LADY IN THE FOREST.  This is very loosely based on a pseudo-naive painting I originally completed in 1976.

I did not have time for any further painting today.

I painted for an hour today.  I continued working on LADY IN THE FOREST.  The original version was sombre in colour and tone - this version is much lighter.

Finished  LADY IN THE FOREST.  This was painted fairly loosely in a semi-naive style and relates to a series of narrative and mythology based figurative paintings I hope to work on in the coming months. 

New brushes were used which make it easier to manipulate the paint - Note to myself: wash my brushes more regularly and/or buy new brushes every month!

Started painting in a new Manfred Wing landscape (called LANDSCAPE!).  Like almost of all of Wing's work this year, it is based on earlier paintings.  This work refers back to paintings and drawings from 1976-78 which were comprised of free drawn circles, usually with smaller circles inside, placed very closely together in rows.  The former works were "abstract" but the current work extends the concept by relating it to the natural world - albeit in the form of imagined scenery.

Painted in much of the background between the circles of LANDSCAPE.  I was hoping to get the work totally finished today but the process took much longer than anticipated.  More works will need to be done in this series!

Painted most of the morning - spending the afternoon gardening and getting sunburnt.  I finished painting in the background of the circle based LANDSCAPE.

Painting in the new version of COMPTON ACRES.  I actually quite like the colours of this work.  I was given  a small selection of student oils recently and I have found then suited to my technique - they are easy to manipulate and having less body can be readily scrubbed round the often intricate initial painted lines.