I was out all morning and early afternoon so late getting in my studio.  However, I managed to finish adding all the "bird flight" markings to LANDING BIRD, so I think I can now consider the work completed.

Completely out of the blue I was given an extra week for my solo show in the Andover Library exhibition space.  Consequently I had to spend most of today getting works framed for hanging tomorrow.  Several of the works I had planned to put in wont be ready so I have changed the selection of work; hanging a number of earlier works.

I hung my exhibition in Andover during the morning.  I spent the afternoon in the garden!

I had to go to a funeral midday so didn't start painting until the middle of the afternoon.  I more or less finished Simple Simon's PORTRAIT WITH A HOUSE ON IT'S HEAD.  I may have to paint in some of the symbols tomorrow.

Returned, in my head, to thinking about my GIT works (Grand Improvisational Treatise - or Great Improvisational Treatise).

I finally finished SIMPLE SIMON: PORTRAIT WITH A HOUSE ON IT'S HEAD. 

I added all the symbols, words and other imagery to the sequence of spaces in SIMPLE SIMON: RECLINING NUDE.  Some of these images will need colour added.

Not much time today:  I started to add the thematic imagery in the block sequence of SIMPLE SIMON: STILL LIFE IN A LANDSCAPE.  I will need at least another day on this work.I

A beautiful day (ditto yesterday) so I did not get into my studio until midday!  I finished the image drawing in stage of Simon's STILL LIFE IN A LANDSCAPE and started compiling my notes for the two versions of my TEMPTATION OF ST. ANTHONY.

I completed SIMPLE SIMON: STILL LIFE IN A LANDSCAPE.  This is the last of the six pegboard works in this series but I intend to start another series of six in the near future (the latter will be on a larger scale).  I had no time for anything else today.

I was home all day but I haven't been especially productive.  I started preparing the pegboard panels for the next Simple Simon series.  These are three foot by two foot panels and probably mark the end of using this sort of foundation.

The remainder of the day was spent sorting out notes for future works - plus an attempt to reduce the usual mountain of paperwork during the evening.

I was out in the morning and late afternoon/evening.  In between I started work on TEMPTATION OF ST. ANTHONY - ROUGH VERSION.  I began this work, and it's pendant, some time ago.  I laid out a number of partly superimposed structures within which imagery can be developed; there is now a number of different options for image type and developmental path.

Out in the morning and I had to deliver work for the Marlborough Artists exhibition in the afternoon - so little time to work.  I tweaked SIMPLE SIMON: IMPROVISATION ON A GATE when I got in.

I didn't do any painting over the weekend and I had to collect paintings this morning.  When I finally got in I re-tweaked IMPROVISATION ON A GATE (I wont touch it again!).

A more normal day!  I started adding images to both versions of TEMPTATION OF ST ANTHONY.  There will be little surreal figurative imagery in these works; most images are in the form of diagrams and symbols all derived from very simple thematic material.

I was out almost the whole day so very little art work done.  I am compiling notes for SEATED WOMAN and THE BATHERS which I started in the early months of last year.

I had to do a mass of paper work first thing, then instead of retiring to my studio for a long painting session I went out into the garden!  When I did finally get in I continued working on TEMPTATION OF ST ANTHONY (ROUGH VERSION).  Not a particularly productive day!!

I have also started work again on an A3 sketch book of abstracted landscapes which I originally started last year - or was it the year before.

Spent another morning in the garden!  I did manage to get into my studio in the afternoon and I worked on TEMPTATION OF ST ANTHONY (SMOOTH VERSION): adding symbols and other images to the strands that emanate from the thematic blocks.

I finished adding all the imagery to TEMPTATION OF ST ANTHONY (ROUGH VERSION) and almost finished the image sequences of the SMOOTH VERSION.   I hope to finish adding the imagery tomorrow and, with luck, fill in the figurative images with colour.  There aren't many of the latter and most of the symbols are linear or simple blocked in shapes.

Primed a piece of plywood (I found on the back of a canvas - I must stop doing this!) for a landscape based on an image of Osterley Park that a friend gave me.

I finished both version of TEMPTATION OF ST ANTHONY, although I didn't think I would as I have been flitting between various projects all day.

Made a tentative start on the new landscape (STEPS TOWARDS A MEDITATIVE GARDEN) before I ran out of time.

I was out all day yesterday and although I worked all day today I don't seem to have anything more to show for it except some scribbled notes and the first stage of STEPS TOWARDS A MEDITATIVE GARDEN (drawn in with charcoal).

I finished the initial charcoal drawing in of STEPS TOWARDS A MEDITATIVE GARDEN and then reinforced the lines with acrylic medium.

Apart from working on my web site and some miscellaneous writings, I didn't do anything else today which was art related - unless you consider my whole life as art related (which I don't!).

Bank Holiday yesterday and I didn't get into my studio until today.  I spent most of the day painting in STEPS TOWARDS A MEDITATIVE GARDEN.  I am using a semi-realistic palette (which I may or may not be happy with!) and the minimum of embellishments - all of which are spontaneous.

I also prepared two small pieces of hardboard for a couple of quick landscapes in a minimal linear style.

Finished all the painting in of STEPS TOWARDS A MEDITATIVE GARDEN (save the margin). Some over painting will be necessary and I may amend the design once the paint is dry.

No time to start anything else.

I completely finished STEPS TOWARDS A MEDITATIVE GARDEN - for the moment anyway!  I tweaked some of the lines and added gestures, symbols and shapes.  Some of the colour elements were ornamented rather than altered.

The first time in my studio for a couple of days.  I did the drawing stage of the two new landscapes (which remain titleless at the moment - although a number have been tried).  One had the preliminary drawing done with charcoal pencil and the other with graphite pencil; both were gone over with water soluble oil to strengthen the lines.

Put a layer of colour in the first landscape (this took all day - with sundry distractions!).  These pictures now have the working titles of: LANDSCAPE WEARING A HAT and LANDSCAPE WITH A SMILE respectively.

Much less time in my studio today:  I started (but didn't finish) painting in the second small landscape.  Both works are spontaneous predominantly linear realisations of a scene.

A typically hectic day spent on a multitude of different tasks.  I finished LANDSCAPE WEARING A HAT and LANDSCAPE WITH  A SMILE; although I may have to touch up both works.  The first work is painted in predominantly earth colours and the second in white and pale tints.

No time for painting tomorrow, although I may manage some drawing.

My first day in my studio for a little while.  Despite this I had an unproductive day.  I tweaked STEPS TOWARDS A MEDITATIVE GARDEN and to a much less extent LANDSCAPE WITH  A SMILE.

I then started working on three new works (all over very early paintings): IONIST PAINTING FOUND ON THE WALLS OF POMPEII, on a sand textured panel; THREE PORTRAITS WHICH TALK TO ONE ANOTHER, on Daler Board and AN ANCIENT SHIELD WHEN LAID FLAT FORMS A LANDSCAPE which will incorporate some of the orginal elements.

I did the drawing stage of THREE PORTRAITS WHICH TALK TO ONE ANOTHER using raw umber Winton oil paint - straight from the tube.  I didn't have any preparatory drawings (I hardly ever do these) or even firm ideas in my head but the structures are akin to the long series of portraits I have done since the late Eighties.

I had to deliver paintings to New Milton for a show today and I didn't return home until late afternoon.  Consequently, very little work was done.  Although, I have made a tentative start to the drawing stage of AN ANCIENT SHIELD WHEN LAID FLAT FORMS A LANDSCAPE and IONIST PAINTING FOUND ON THE WALLS OF POMPEII.

I have also started another A6 book of abstracted or embellished pencil landscapes.

A long day in my studio.  I completed the drawing stage of IONIST PAINTING FOUND ON THE WALLS OF POMPEII (partly in charcoal/acrylic paint and partly acrylic paint) and I also finished the same stage of AN ANCIENT SHIELD WHEN LAID FLAT FORMS A LANDSCAPE (in thinned oil paint).  I started painting in the first work but I didn't get very far.

I also tweaked -again! - STEPS TOWARDS A MEDITATIVE GARDEN: repainting elements of the work using larger strokes in the hope that this integrated the disparate parts into the whole composition better.  This is destined to be one of those works you are never fully happy with.

Back in my studio today (but out again tomorrow!).  I completed ANCIENT SHIELD WHEN LAID FLAT FORMS A LANDSCAPE as a "Wing Work".  I did the picture it is painted over in my first "Wing" period of 1975-76.  There isn't any superimposed symbols although there is recognisable images and shape associations.

A full day painting.  I painted in all the various sections of THREE PORTRAITS WHICH TALK TO ONE ANOTHER.  It might have been advisable to sand the picture I painted over but I have incorporated the raised lines into the current composition.  With hindsight I should have painted a brick coloured background - for reasons that are obvious when one looks at the painting.  Symbols, characterisation shapes and imagery have to be added.

I finished painting in all the colour areas of IONIST PAINTING FOUND ON THE WALLS OF POMPEI by the middle of the afternoon.  This consisted of roughly applied acrylic paint within carefully defined structures; into the latter simple figurative images will be added.

Later in the day I worked on thematic ideas for the above work.  The aim with my more tightly controlled developmental work is to have two themes which evolve independently and by interaction.  The two themes in this case are concerned with the mortality of man and the relationship between the artist and his work.

As I wanted to listen to cricket commentary on the radio I decided to start the drawing stage of another Simple Simon work.  This is the first in a new series of "pegboard paintings".  It is entitled GARDEN OF EARTHLY DELIGHTS (after the work by Bosch).  However, it is a new example of the circle pictures I/Simon did between 1977-1979 and consists of repeated hand drawn circles into which simple symbols will be added.  These symbols will refer, obliquely, to the source painting.

A return to work after the Bank Holiday.  However, I still did not get into my studio until the afternoon.  I finished the drawing stage of SIMPLE SIMON: GARDEN OF EARTHLY DELIGHTS.  Ie., I painted in rows of small circles round pegboard holes.

I started the day by adding the initial background elements to another Simple Simon painting with the working title of THE FIRST MANIFESTATION OF TELEPHONE ART.  This has lines running across a large pegboard panel above which will be drawn rows of simple shapes and symbols.  These images were originally drawn while talking on the telephone.

I later returned to working on THREE PORTRAITS WHICH TALK TO ONE ANOTHER by adding symbols into the colour blocks.  This is quite a complex work with several series of interacting imagery.

I worked all day on THREE PORTRAITS WHICH TALK TO ONE ANOTHER.  I continued to add spontaneous symbols (derived from specific themes) and developing linear elements.

Very little time to work today but continued with the series of A6 pencil landscapes.

I worked for part of the morning on THREE PORTRAITS WHICH TALK TO ONE ANOTHER - adding more symbols derived from facial features.  However most of the day was spent in the garden!

I worked for most of the day on THREE PORTRAITS WHICH TALK TO ONE ANOTHER.  I have completed the actual drawing of the imagery, although some of them have to be painted in.

I also started making notes for a possible return to work on MEDITATIVE PROCESS ART: PARADIGM ONE.

This is an easy week (part holiday) and I didn't start work until the afternoon.  I finished THREE PORTRAITS WHICH TALK TO ONE ANOTHER.

I then put a layer of background paint on GARDEN OF EARTHLY DELIGHTS and finally started adding imagery to IONIST PAINTING FOUND ON THE WALLS OF POMPEII.

A late start but I did quite a bit of work on IONIST PAINTING FOUND ON THE WALLS OF POMPEII.

I spent the evening working on small landscape drawings in one of my sketch books.

I continued working on IONIST PAINTING FOUND ON THE WALLS OF POMPEII.  I added symbols and figurative imagery to the colour blocks and then started paining them in.  I have almost finished this work although, unfortunately, I wont have time for any painting tomorrow.

I spent the day finishing IONIST PAINTING FOUND ON THE WALLS OF POMPEII.

I didn't have time for anything else save some sketch book drawings.

One of my legendary late starts!  I tweaked IONIST PAINTING FOUND ON THE WALLS OF POMPEII (hopefully for the one and only time).

After this I made a start on a new work on primed illustration board entitled: THE LOVERS (PEOPLE PORTRAYED AS LANDSCAPES).  This will be a fairly simple work with images based on landscapes within two structures that float in opposition in the picture.

Finally I started restretching some old canvases for reuse.

I did the minimum of tweaking to IONIST PAINTING FOUND ON THE WALLS OF POMPEII (so Tuesday wasn't the only day!): redoing the background designs in the central area.

I then painted - and repainted - the main colour areas THE LOVERS (PEOPLE PORTRAYED AS LANDSCAPES).

I was out most of the day.  When I got in I tweaked (yet again!) STEPS TOWARDS A MEDITATIVE GARDEN and then moved to THE LOVERS (PEOPLE PORTRAYED AS LANDSCAPES): adding symbols - initially in pencil - in the colour block sequences.

Out today!  Nothing done except more landscape drawings.  I have now finished the series.

I was in my studio the latter part of the morning and all the afternoon.  I spent all this time working on THE LOVERS (PEOPLE PORTRAYED AS LANDSCAPES): Redefining the pencil lines in acrylic paint and painting in the imagery.  I didn't quite finish.

I had to collect work from the ArtShed in New Milton today.  I took the opportunity of visiting another gallery at the same time. They liked my work and agreed to show my paintings.  There was a protracted journey home (partly my fault) so I didn't get into my studio until late afternoon.  I had time to finish THE LOVERS (PEOPLE PORTRAYED AS LANDSCAPES) and prime the recently restretched canvas - but nothing else.

I started the day by lightly tweaking THE LOVERS (PEOPLE PORTRAYED AS LANDSCAPES): mainly repainting some of the original lines which I had left in charcoal.

I then restretched another old canvas (I have about twelve to do) and started work on the canvas I primed yesterday.  This will be a large scale "Meditative Landscape" based on an image of Tresco Gardens.  I roughed in the composition in pencil.

I finally ended the day by redesigning THE LOVERS (at this stage with charcoal pencil additions).  I am out the rest of the week so I will have to finish the work next week.  What started as a casual throw away work will end up being relatively complex.

I finished the major tweaking of THE LOVERS (PEOPLE PORTRAYED AS LANDSCAPES).  However there are a lot of loose ends which I plan to tie up with a series of simple (landscape based) paintings.

I then returned to the pencil preliminary drawing of the the large scale "Meditative Landscape"

Over eleven hours of gardening yesterday so no time for painting!

Finished the pencil drawing and did most of the repainting of lines (in water soluble oils) of the Meditative Landscape - now with the working title of SILLY LANDSCAPE.

I more or less finished the redefining of the pencil lines of SILLY LANDSCAPE.  A little more needs doing tomorrow before I start painting in.

I varnished IONIST PAINTING FOUND ON THE WALLS OF POMPEII with permanent acrylic varnish and primed another canvas (which had been previously re-stretched).  Oil has come through from the painted side to a slight degree - as seems always the case in commercial acrylic primed cotton canvas from the Seventies.  I only used two coats of acrylic primer ( the first canvas had three).  I worked out the theme and composition in my head when priming the canvas.  As usual when I think of a new work about a hundred possibilities come into my head.

I also restretched another of these canvases.

I restretched and primed (again 2 coats only) another old canvas.  I have done three cotton canvases now; most of the remainder, which still need stretching etc., are linen.

I started the preliminary drawing - in charcoal - of two new works.  Both combine sequential portrait characterisations with Meditative Process Art structures.  One has a linear development for the latter and the other a diffusive development.

Also returned today to the simple crayon landscapes I have been working, off and on, for some time.

I will have no time to work for a few days.