Rod Coyne painted this picture, ” Skelligs Arch ” at Dr. Noelle Campbell-Sharp’s Origin Gallery . The live painting demo was a part of his “Waters Soft & Wild” exhibition in October 2015. This demo was captured with a time lapse camera. Sit back a see just how this little part of the West was Won by a determent artist wielding a palette knife.
Painting Demo Video – Star Wars couldn’t resist!
To date two Star Wars movies have embraced the Skelligs as a ready-to-go film set. It’s no wonder of course, these two sentinel islands lay on the Europe’s most westerly fringe and drip with otherworldly presence. Skellig Michael and Skellig Beag have featured heavily in Rod Coyne’s paintings since the year 2000 and his first residency at the singular Cill Rialaig Artists Retreat. Yet he first painted them on a 1st year field trip with the Crawford College of Art.
Painting Demo Video – Star Wars pays homage to Rod
“Like some many of my generation Luke Skywalker and Darth Vader’s rivalry were an integral backdrop to my childhood and early teenage years. Sure the story existed in another time and a galaxy far away but for an Irish kid the first three movies occupied a realm completely alien to 1970’s Ireland. They also represented a glamorous, sophisticated America which seemed as far off to me as the worlds and planets depicted on the silver screen.
Fast forward to the present and the long awaited release of The Force Awakens and I could barely contain my excitement and expectation of how my Skelligs were going to be integrated into the story line. Disney were actually paying homage to my central painting motif. I wasn’t disappointed with the islands depiction but I did leave the table hungry.
But last month I got my fill and just relished every layer of that truly alien landscape as revealed in The Last Jedi. I have to guess that after such prolonged exposure that is one set we will no longer be seeing in future Star Wars Productions. I’m fine with that, they’ve recognized something I discovered for myself decades ago. They’ve paid homage to the great island cathedral which was once the last bastion of Christianity throughout the dark ages.” – Rod Coyne.
” Skelligs Arch ” is available as canvas print on this site.
So if you find yourself wandering the Dun Laoghaire seafront Xmas Market then be sure to make your way down to the former Ferry Terminal and see this exciting exhibition featuring painter Rod Coyne and selected artists. It was a full-house for the launch of Dublin Docklands on Sunday 19th November 2017, and the show is open daily untill 22nd December at the Ferry Terminal on Harbour Road.
Curator and owner of the Gallery Dalkey Siobhan Bastable launches the show with a glowing endorsement of her artists’ work. Photo by Keith Dixon.
New work for the Dublin Docklands
Coyne’s “Pigeon House” collection kept visitors rapt with his contemporary take on Dublin Bay’s icon skyline. Two Visitors in animated discussion before three canvases from this singular collection.
In “Hot Dockers” Rod Coyne interprets a vintage image depicting men at work through a palette of fiery reds, oranges and pinks.
ROD-CAST: Jaw-dropping iconic Dublin Skyline.
As you know Mr. Coyne is a keen vlogger, so sit back and enjoy this whistle stop tour of the “Dublin Docklands” exhibition launch featuring jaw-dropping views of the iconic Dublin Skyline. This two-minute video gives you a great insight to what the Gallery Dalkey have achieved in this singular pop-up exhibition space on the Dun Laoghaire seafront.
Dublin Docklands – Varnishing Day
“I went to wire finishing “Masts at Customhouse” before the show. This painting was going to be my centre piece and it lived up to all my expectations. But despite using plenty of fast drying alkyd paint the picture was just as wet on Sunday as it had been when I finished it the Wednesday before. Five minutes before the show I realised that Murphy’s Law had struck in the form of a big magenta smear across the cold grey sky. Armed with baby-wipes I set to work trying to remove the offending streak. I couldn’t help picturing William Turner in the recent bio-pic smudging and gobbing on his canvas as the Royal Academicians looked on in horror. The repair job was mostly successful and there was no fatal damage done to my masterpiece. Its fair to say that my bold, lose painting style tolerates that type of abuse better than any photo-realism could” – Rod Coyne.
A frantic repair job by Rod Coyne to save his painting “Masts at Customhouse” at the eleventh hour.
“Recently we tried some really cool painting exercises in the Avoca Painting School with a 3 minute colour sketch in acrylic paint. I’ll really recommend this exercise for anyone wanting to loosen up the brush stokes, you’ll be amazed how much you can depict in such a short time”, says Rod Coyne.
Rod Coyne Shortlisted form 4000+ entries and you can help get his paintings to the prestigious 21st National Open Art (NOA) Exhibition, Southbank London, November 2017. NOA invite the public to vote for finalists. So as Rod battles to become one of those who will be exhibited and be in with a shot of the kudos and prize money in London this autumn he needs your help. Please vote for the paintings at these links: “Cill Rialaig Blaze” and “Skellig Fire & Ice”.
Rod who submitted his newest most experimental work #RodSeesRed was totally thrilled to get the following message in his mailbox:
“Dear Rod, Firstly, thank you for entering the 21st National Open Art Competition. We are absolutely delighted to announce that your submissions “Cill Rialaig Blaze” and “Skellig Fire & Ice” have been shortlisted by our panel of judges for the second round on 29 August 2017. Very many congratulations from us all here at NOA!”
As usual NOA boasts the support of the art-wordls most celebrated and respected figures. The 2017 Judges include Hughie O’Donoghue RA, Jane McAdam Freud, Kelvin Okafor, Cynthia Corbett & Zelda Cheatle. The 2017 moving images Judges are Elaine Pyke, Adam Saward and Marta Altés.
About National Open Art UK
National Open Art (NOA) is one of the UK’s leading art competitions, open to amateur and professional artists in the UK and Ireland. Since our first competition and exhibition in 1996, we’ve grown to offer multiple prizes that recognise talent and artistic excellence in a broad variety of artistic mediums and styles. Our panel of judges changes annually and features some of the most experienced and influential figures in the art world, from Royal Academicians to critics, curators and professionals.
NOA now attracts more than 4,000 entries per year and we offer both shortlisted and winning artists exposure and income opportunities through our exhibitions and online art sales platform. By working hard to expand the scale and scope of the competition, we aim to give all UK and Irish artists a gateway to exhibit and promote their work, regardless of background, and encourage them to pursue a life in art.
National Open Art is administrated by the Chichester Art Trust, a registered not for profit arts charity, whose aim is to provide a truly open and fair platform for all UK and Irish artists.
Q: How is it that now Rod Sees Red!? A:“For a while now I’ve been considering where my art’s at in the past, present and the future. I could feel a change coming on. Just because I stop painting in a certain way doesn’t mean that I don’t believe in it any more. It just means I need a break, a change of “wallpaper” around me and a chance to see things afresh. Also, I would be a liar if I denied that I am always thinking about how to re-invent my artistic expression and possibly create something totally new (or at least something rare in the art world).
Rod Sees Red! – Field testing a new theory.
So it was with this intention in mind that I set off for my two week retreat on the Atlantic coast of Kerry, Ireland. I am always careful to approach things scientifically in an arty way. In practice this means just changing only one element of my painting-modus-opperandae at a time, and that way I can easily identify how and why the results look different to previous work. So armed with a need for change and a willingness to throw caution to the wind I decided to turn my palette on its head.
Rod Sees Red! – and paints it!
After much musing ahead of my residency I decided to introduce radical amounts of red into my landscapes regardless if they were there or not. That was the basic theory but I still had yet to discover (through making the pictures) how that could work in practice. So for the first couple of days at the retreat I worked plein air, painting fast and loose in acrylics. First off I swapped the greens of the landscape for a tonally similar palette of reds. Then, as a ying to the yang, I started replacing the blues of the sea and sky with a palette of reds. Looking at the two versions side by side I saw instantly that the second option still looked realistic, just as if painted at sunrise or sunset. But where the land was red instead that took on a completely other worldly feel. So armed with my new painting-modus-opperandae I went to work for ten days painting the world red!
Rod Sees Red! – Oil on canvas in high speed.
“Ballinskelligs Bay” was created this month on a two week residency at the artists retreat Cill Rialaig, Co. Kerry, Ireland. I spent my time there experimenting with a new palette – namely switching the greens of the land for reds, corals and hot pinks – just to see what the effect would be. The canvas was completed plein air but later I distressed the surface little back at the studio. This part of the process opens the door to chance and takes the final say out of my hands. I love this painting because it has an abstract and other-worldly feel and yet it reads as a landscape drawn from life.”
– Rod Coyne – Rod Sees Red!
Plein air painting is about leaving the four walls of your studio behind and experiencing painting and drawing in the landscape. The practice goes back for centuries but was truly made into an art form by the French Impressionists. Their desire to paint light and its changing, ephemeral qualities, coupled with the creation of transportable paint tubes and the box easel—the precursor to the plein air easels of today—allowed artists the freedom to paint en plein air, which is the French expression for in the open air.
“In Ireland en plein air often means painting in the lashing rain. This doesn’t have to be a disadvantage; in fact, personally I find the opposite is true. To paint a mountain I like to stand in front of it. To paint a storm I like to be in the middle of it. Sure this means me and my canvas getting wet, but that’s when the happy-accidents start happening. More than that, I find the physical act of battling the elements manifests itself in the resulting picture. And if I’m out painting Mother Nature then why shouldn’t she have a hand the act of creation by making the paint run with rain or smear in the wind?” – Rod Coyne.
Then and Now
“William Turner led the way in the late 1700’s and a century later the French Impressionists fell in behind, and made Impressionism into a recognised artform. These days it is considered an outdoor pursuit just like hiking and fishing. Some high-brow people might look down their noses at the masses picking up their paints and heading outdoors. But I have now time for any snobbery; I believe all who want to enjoy the meditative properties of creating en plein air should do so. It is a true form mindfulness to be stopped in one spot and studying the view before your eyes. It is in stark contrast to our hectic day-to-day and offers an undeniable form of relaxation therapy. And if you have a painting at the end of it, well, that’s a bonus, but it shouldn’t have to be the goal” – Rod Coyne.
“I couldn’t see it coming at the time, but what started out as a common or garden solo exhibition has turned into a major project with no end in sight” – Rod Coyne.
The My Place on Canvas 2017 Calendaris just the latest by-product of an over active artistic imagination. What started out as a homage to Wicklow landscapes has turned into a celebration of people, memories and stories documented through a compelling mix of videos, words and paint.
MY PLACE ON CANVAS – Born in 2013
The My Place on Canvas is a project where the public nominate their favourite Co. Wicklow landscapes for artist Rod Coyne to paint. This culminated in an exhibition at the Tinahely Courthouse Art Centre in 2014.
Throughout 2015 Rod continued to solicit and paint nominations of cherished Wicklow landscapes. This led to exhibitions and workshops with the Heritage department of Wicklow County Council and the Hollywood Fair. And in 2016 planning started the book to be published in 2017/18. And in the meantime the 2017 Calendarhas been published along with a range of Wicklow Landscape canvas prints.
CALL TO ACTION – then and now.
This is your chance to be part of this project by nominating your favourite Wicklow landscape to be immortalised in paint and print. You just need to share some details about your “My Place” and Rod will do the rest. There is no charge for taking part and it is open to everyone. So if there’s a place close to your heart and you’d like to share it with the world then contact Rod Coyne.
“My Place on Canvas” An exhibition by Rod Coyne, will be opened by TD Stephen Donnelly on 23rd November 2014.
Rod Coyne paints sentiments and memories En plein air*. His upcoming exhibition at the Courthouse Tinahely is a singular mission to capture the favourite Wicklow scenes of others. Rod has motivated people to consider and articulate their relationship with their landscape. Then he has retold that story through paint. The result is a compelling mix of paintings and text called “My Place on Canvas”.
Notable are contributions from author Paul Howard aka Ross O’Carroll Kelly, former Ireland rugby international Shane Byrne, lawyer to the stars Dr. Gerald Kean and Irelands most respected TD Stephen Donnelly. This multi-facetted undertaking saw Coyne marching from the mountains to the sea, or flanked by deer in the forest at dusk, and lunching with The Hon. Garech Browne in Luggala estate.
“My Place on Canvas” is an exhibition celebrating the Wicklow landscape, where the public decided which scenes would be painted. Choosing a selection the artist then interpreted each in his own distinctive plein air style. The finished paintings will be displayed alongside the text of its very own personal back-story.
The exhibition is the culmination of a three year long project which has captured the public’s imagination. Rod set out to break down some of the barriers and exclusivity that still exist around art. With this interactive project Coyne looks at the world through someone else’s eyes while they get to see their landscape through his. The result is a compelling mix of paintings and text broadcasting the majesty that is Co. Wicklow.
Excitement mounts as all contributors anticipate their landscapes being publically unveiled for the first time. The exhibition will be opened by TD Stephen Donnelly on November 23rd. “My Place on Canvas” has allowed people who were previously never involved in art to find themselves at the heart of a fine art exhibition. There have been over 70 submissions from around the world including Holland, Scotland, the Czech Republic, Hong Kong and, of course, Wicklow. The artist received submissions from across the board including politicians and prisoners, celebrities and writers. All share a passion for the Garden County of Ireland, as the 30 new works being premiered will testify.
In art we can find common ground, and in Rod’s hands it becomes universally accessible. In an effort to de-mystify the creative process Rod has been documenting his painting journey through a photo diary on Twitter. He has also filmed the realisation of each piece with a head-camera and these YouTube clips will be on display at the Courthouse Arts Centre. They tell the other story, that of Rod’s experiences and adventures as he wandered the county, bringing art outside, finding and painting other people’s visions of Wicklow.
*En plein air is a French expression meaning ‘‘in the open air’’ referring to the act of painting outdoors. Plein air artists like Rod capture the spirit and essence of a landscape by incorporating the changing natural light, colour, and movement into their works. They need to capture that movement-Mother Nature does not stand still during the course of a day!
“Earlier this year I was privileged to take part in a special painting exhibition in the historical Tourin House, the home of Irish Whiskey. Our brief was to create paintings of the beautiful surrounding estate gardens. The core of this group show comprised of the artists who presented “Kilmacurragh through the Artists’ Eyes”, a celebrated exhibition in the National Botanical Gardens, Dublin, 2014.” – Rod Coyne.
During a short residency on the estate I had the chance to put together a small collection of pictures for the show. I had a fantastic few days painting in the Tourin Estate, it’s a compelling blend of history and nature and an artist’s delight. But first I needed to meet my hosts.
The three sisters, Kristin, Andrea and Tara, are the ninth generation direct descendants of John Jameson, whose name is synonymous with Irish whiskey. I love this photo taken for an earlier Irish Times article. The Jameson sisters wade through daffodils in front of Tourin House.
A river of Irish Whiskey
Roses, nymphs and lawns rolling down to the River Blackwater at the back of Tourin House. Where ever I looked I was struck by another fantastic view. Overawed as I was it was hard to decide where to start painting. When in doubt head for the water – so I took myself down to the riverbank to make a start.
Don’t fence me in!
Much later, feeling sufficiently windswept and chilled I needed somewhere to re-heat my bones. Entering the walled garden is like stepping back in time.
They locked me into the walled garden and wouldn’t let me out untill I completed a painting (no great hardship). So I got to work in amidst of a riot of colour. There was something very exciting about painting in the walled garden with rare and mad colours tumbling across my palette.
The Knockmealdown Mountains loom large and majestic on the horizon. As moved around the estate they continually caught my eye and I knew it was only a question of time till I would have to point my easel in that direction…
The Big Night
What a fantastic night, what a fantastic show. A big, big thank you to the wonderful Jameson sisters who facilitate and support art at every turn. We artists are always affirmed by their vote of confidence.
It was so fantastic to meet all the other artists and see what they had painted in the surrounding I had gotten to know so well. But the biggest thrill was to see my paintings in the hanging auspicious rooms of the true home of Irish Whiskey, Tourin House.
For the period of 2016 I will be creating my plein air pictures wearing an eye patch, a pirate painter so to speak. I have more or less 20/20 vision in my good eye, and only 25% vision in my lazy eye. For this project I am covering my good eye and relying completely my lazy eye to paint. This is a totally experimental period of work and I have now idea what the results will yield. I am adapting a scientific approach by writing a detailed report on the creation of each painting and videoing the process. This project has received the full backing of Wicklow County Arts Office in the form of a generous bursary. So watch this space when I reveal the results in 2017.
Pirate Painter Project – In Detail
I have a lazy eye, otherwise known as amblyopic eye. This condition can result in many and varied visual impairments, and these can range from mild to extreme. According to a recent optician test, the visual information I receive on my good eye is 92% of 20/20 vision verses 25% through my lazy eye. Specifically, the sight on my lazy eye is heavily blurred, but I do receive the same full range of both colour and light as with my good eye. This blurred vision applies equally up close as it does for looking into the distance.
Renowned art critic Martin Gayford commenting on Lucian Freud’s lazy-eye remarked how his paintings only came into focus from a distance, while up close they are all about mark-making and the lustre of oil paint. Apparently it’s to do with two sets of images being received by the brain, namely one sharp and the other blurred. My own painting has always born the same characteristics although I never understood the reason untill I read Martin Gayford.
I am now ready for the next artistic chapter in my artistic life. I am a firm believer in a structured and scientific approach so prefer changing just one element of my current modus operandi at a time so as to fully comprehend and judge the results. I see this project as an opportunity to disappear down a rabbit hole with no pre-conception of the pictorial results. My intention then is to calibrate and criticize the results viewing them in the wider context of landscape painting today.
Pirate Painter Project – The Questions
What happens if I subtract my good eye from the painting process? In what way would the resulting image be different? How will I deal with a fuzzy, distant subject? How will it affect the colours I see and how I mix them? How will I judge if a brush is loaded or not? To what extent will I believe the canvas is covered when it is not? And most importantly will I bend my restricted vision to suit my current style or visa-versa? Answer: I haven’t got a clue, but the prospect is very exciting.
Pirate Painter Project – In the Landscape
The Irish landscape is a means to an end for me, where the end is finding and developing my voice as an artist. So the landscape becomes a vehicle to investigating and developing my own style of plein air painting. This plein air conversation with Co. Wicklow continues unabated now into its 16 year.
My proposal is to continue my plein air conversation with the Wicklow landscape from April to December 2016 while wearing an eye-patch over my good eye. A pirate-painter if you like. It will be like painting with one hand tied behind my back and the results will be documented in oil on canvas in the form of a new body of experimental work. I hope with this experiment to better understand my physical perception of the world. Because my lazy-eye image and focus is so reduced and simplified I wonder to what extent the paintings will reflect this. I am also keen to know if my lazy-eye will improve during the year with all the extra exercise or if my brain will employ completion to “fill in the blanks” in the search for a more familiar image.