Colour is a significant language for many artists

a pale pink (colour) poppy head photo by Kathryn SassallWhatever language you prefer to interpret the large abstract colour flower-abstractions of Georgia O’Keeffe when you actually see the paintings, rather than the digitally reproduced images, they are totally absorbing. O’Keeffe was happy to present them as her abstracted colour response to the flowers she saw.

When these pictures were painted, in the early 1900s, there was an intense interest in psychoanalytical interpretation of art. The curator and photographer Alfred Stieglitz, who first showed O’Keeffe’s works, wanted to overlay his vision of the works. His response was to see erotic content. This may be a reflection of the relationship he had started with the artist.

Synaesthesia – Noise in colour

Throughout her lifetime O’Keeffe used what she had around her. An understanding of the simulation of one sense by another, led to her creating abstract pictures from noise or heat.  She captured cattle lowing in her native Texas, but in flat colours not as realistic copies. This is known as chromothesia. Sunsets became streaks of hot colour in the foreground against a complimentary colour background. She painted New York buildings and skylines punctuated by loud red stop lights.


Her three decade relationship with lover and then husband Steiglitz saw the artist become a muse and collaborator for many black and white portraits. She also interpreted their relationship in paintings. The exhibition at the Tate Modern (6 July to 30 October 2016) showed this area of O’Keeffe’s life that I’d not been aware of. There was a wonderful television documentary on her life at that time as well confirming her strength of spirit and tenacity.


To me Georgia O’Keeffe seemed to be a restless soul, who tried to make the best of what was around her to develop her artistic practice. She remained aware of but largely uninfluenced by other artists of her time. The vision she followed was to paint what she saw, but she did alter her style in an attempt to dispel the way in which others seemed intent on seeing body parts or sexual motifs.

I found it quite sad that when O’Keeffe found her place in New Mexico she wanted to hold it to herself so that others did not show an interest and presumably change her view of it with their visions. The landscape, buildings and people there suited her flat plains of colour. Of course there are few flowers in the dry mountain plateaus and desert so she adapted to the painting of bones which there were a lot of. Georgia O’Keeffe stayed true to capturing the beauty of what she saw around her, her way.


Flower Images:

O’Keeffe has inspired me to take many macro or close-up shots of flowers. I am old school, I take what I see. I use the light available and frame before shooting. To see what others may not see and share those images is exciting.

The photograph above is one that I took in 2013 with an iPhone (unfiltered). The pale pink poppy has always meant a lot to me as my nan used to grow them. The petals used to remind me of tissue paper.

The photograph below is a moment captured in 2017 on iPhone, in my own garden as I cleared some dead hydrangea heads and leaves. These tulips sprang up from where they had been held down and over-shadowed. [/ezcol_1half] [ezcol_1half_end]

photograph of pale yellow (colour) tulip stamens by Kathryn Sassall





Vintage @ Goodwood 2010 – Music to paint by

Extract from a painting in progress.  This is the third layer. An undercurrent of lime green and mauves. The picture will be predominantly oranges at the finish. 45 x 45 cm Acrylic on Canvas.

I was lucky enough to be offered free tickets to Vintage @ Goodwood in 2010 thanks to a friend who had bought an old bus  – as you do!

Managed a few hours of  cleaning the bus on the Wednesday night and then it was driven to Goodwood from a garage in W Sussex. Parked outside Goodwood House for the night we headed up to the races which was more successful for some of us than others.

Next day bright and early back to the site to enjoy all this new event had to offer. Music I would never have thought about listening to before and sights and sounds of people have  a really good time.

Vintage fair was lovely and the atmosphere remained chilled and happy as darkness fell and the lights made a fairytale walk way home through the trees.

Sadly it is less green field and more inside this year on the Southbank, but it will still be great to see everyone dressing up to the nines in their preferred era.

Creating something material

All is not as it seems

Not a picture from the exhibition, but reflective of my favourite work from it.


Some would say this was a good self-portrayal of me just a few years ago! Not so now.

The exhibition of British Sculpture at the RA is not for the feint-hearted! Starting with a tall cenotaph like construction surrounded by photographs in a very calm and cool room which gives tantalising glimpses of two street piece bronzes  – a Moore and a Hepworth.


The colossus Adam sculpted in rusted marble by Epstein looks as though inspired by the Easter Island statues; the scale is of a solid and stable man. The only other offering in the room by contrast is a wonderfully almost Deco like serpent by Moore. Even the large square white seat in the room seems to melt into the floor and not take away from the humour and significance of this pairing. Love it.


A surprising addition is ceramics which is explained as being a reference to their time when ceramics and sculpture where in exhibition together.  It continues on through to the modern, with one of those scary gallery moments where you are not quite sure whether you are being invited in to walk through a piece or whether one of the (in fact lovely) but always dressed so fiercely in black (so reminding me of dementors creeping around) will tap you on the shoulder.


My favourite moment was looking from a distance at, the catch-ily titled, “The Restless Image – a discrepancy between the Felt Position and the Seen Position. Self Portrait.” by Rose Finn-Kelcey which until I got very close to it I had assumed was a photo of swans with wings up. It was in fact the artist herself having some fun. Unfortunately the photograph is subject to copyright so you’ll have to go to the RA to experience it all for yourself!


Oh and towards the end, if you don’t like the sight of raw meat and flies you may want to hurry on by one ghoulishly transfixing exhibit …

Inspiring in Black and White

Emil Otto Hoppé (14 April 1878 – 9 December 1972) was a German-born British portrait, travel and topographic photographer.

The picture on the left looks very modern but was taken within a short period of the picture on the right in the 1920s. Both on display.

A great display of the who’s who of the day  and capturing the early days of multi-cultural London

The 150 photos on show currently at the National Portrait Gallery were hidden from public view for over sixty years. Interestingly curated by subject style rather than chronology it does cause a bit of disorientation at times.

Using a narrow depth of field with a plain background he has softened the edges of many of the women he has photographed. Showing a sense of humour in some of the photographs – particularly the lady with the big organ pipe, oo er missus –  we also identified a darker almost sinister edge to a number of the possibly posed street photos.

Using a hidden camera he captured some unusual views of people. Would he get away with that today?

Most striking for me was a view in the underground (where I felt like I was inside a snake); a nude with very dark triangular background shapes and lighting used so the back of the head was almost fading away; the real Peter Pan and the delightful face which reminded me of Tamara Lempicke’s work on a portrait of a commonly used painter’s model of the time.


A great exhibition of photos. Not much more info in the display than is on the website which is worth reading before you go.