by cathy read SWA
Watercolour and Acrylic Ink
h: 56 w: 76 d: 1 (cms).
Spirit of the Race – Towcester Race Course. Galloping Ghosts of the Landscape What do you see, first? The glorious gates or the hunched over horseback riders? Impressive, comes to mind, dramatic and elegant. I’m not a horse person, but I’ve been to a few race courses, and I can’t think of another with such impressive gates. A conversation with a friend had me revise my initial plan for this painting, and I’m so glad I did. The transient nature of the race is captured in the spirit nature of the horses and riders. So many metaphors in one painting. The transient nature of life and competition, the portal to a new dimension represented by the gates. What else does it evoke? Situated on the A5 or the Roman road of Watling Street near Towcester Town. The gates catch the eye. A combination of sturdy stonework and iron work, they appears flimsy but exude strength. The central gates remind me of my Nan’s lace doilies, a thing rarely seen in modern times. Fantastic, man made structures that seem to be fighting nature. Lines of construction against organic painting which describes a scene of weathering and decay. Blooms of paint mix haphazardly and spill outwards into the sky. Three horses are bursting out of the gates, but they also seem to be fighting to break free, along with their riders. Parts of the gateway are merged with the outlines of the horses. One long, confused mess of man, horse, stone and railings. The horses and riders depict the spirit of the venue, as ghosts of past race horses and riders that remain. They have come and gone in the long and noble history of horse racing in the UK. Gold and yellow dominates in parts. I’m reminded of a pot of gold at the end of the rainbow or a race, in this case. The winners takings, but there’s nothing for the “Also rans”, except next time things might change. Origins and Horse Racing History Racing at the Towcester course dates to the 18th Century., but had ceased to occur after 1798. The first meeting over the modern course took place in 1928. The Towcester Racecourse Company was formed under the direction of Sir Thomas Fermor-Hesketh, later 1st Lord Hesketh, and it was there on his estate of Easton Neston, that the course was sited, and the first grandstand built. Towcester was popular among the racing fraternity, mostly because of the sharp bends in the course, and the final gallop to the finishing post was uphill, which tested the horses and results in some unexpected finishes. Sadly it closed to horse racing as of 2024 but is still in use as a Greyhound Course. Evolution of the Title I confess I’m not a sports fan and the spirit of the race eludes me. That said, I can see the appeal of horse racing. The magnificent beasts, the thrill off the race as they pass. At first, I’d planned on calling this First Out the Gate – Towcester Race Course. After a while I felt the Spirit of the Race was more fitting, the horse and riders are lost in the scene. Among the confusion of lines and paint, echoes of long past rider and animals remain, free to race wherever they may. The spirit of the race continues.
£1350 (As exhibited.)
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by cathy read SWA
Watercolour and Acrylic Ink
h: 41 w: 51 d: 1 (cms).
Visiting the Museums During the school holidays, this tunnel is always busy. It's the route to Museum Road in London. This is how you get to the Natural History Museum, Science Museum, the Victoria and Albert Museum from South Kensington Station when visiting the museums. This is one of the exits, photographed in passing, as I went with my family to the Natural History Museum. The resulting painting is lighter than I'd imagined a feature of the process, and one I've learned to embrace. The golden brickwork partially responsible for this glow. The contrasting light is what drew me to the image. That and the fabulous Iron Gates. Circle inspired, it's a great eye watching over the visitors and travellers. I wonder if it was intentional? So much of the architecture in this area is brimming with details. It's hard to discover what any of the creators had in mind. The depth of creative expression is so strong, it spills over into every tiny detail, no matter how insignificant a role it might have in the structure and use of the building. I find this attention to detail fascinating and also reassuring for, no matter how I might view it aesthetically, I'm sure this attention to detail is behind its survival for so many years. And will continue to contribute to its ongoing survival. Such structures are more than a repository or a tunnel. They are the backdrop of collective memories of childhood and family experiences too numerous to mention. Like the group at the bottom of the stairs. I think they are together? The figure bending and listening to the small child as the mother or the child is with a partner or friend or carer and I wonder what she's saying to him. They're obviously returning home after a visit to the museums. I wonder what they saw? My figures tend to merge into the scene and the process of painting renders a degree of anonymity, which I like to preserve. We can't even see facial details or gauge their mood. You'll have to figure that one out for yourself.
£740 (As exhibited.)
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by cathy read SWA
Watercolour and Acrylic Ink
h: 40 w: 50 d: 1 (cms).
Great Northern Railway Company. What is it that appeals to you about your favourite place? I have many favourite places, but there are some things that they have in common. Great lighting makes a painting. I’m attracted to many types of lighting, for this one it’s the night light. The city at night takes on the charm, sometimes lacking in the daytime. Even the most drab of scenes can appear magical with the right lighting. In the Great Northern Railway Company, we see a building on fire with light. The colour so vibrant, rich hues, from Red through orange to gold and then white. Five round orbs of light mark street lights, then the column of light rising up in the apartment/office/hotel building beyond. There are even a few lights in the Windows. The light is reflected in the wet paving of the square and even on the metal handrails leading up dark steps. Atmosphere in a painting teases out curiosity. What's going on here? The scene appears deserted but is it? I fancy that I can see figures in the distance, between the bright lights, reflections and hidden shadows. I could look at the original photograph to find out, but part of me wants to maintain the mystery though. Should I tell you? Or would you rather speculate as well? Great Architecture is my artistic inspiration I held off creating this painting for a while but I’m glad I finally painted it. So much has worked out better in real life, than had in my imagination. My only regret is that it should have been bigger. Maybe I’ll revisit it, only time will tell? I must research the building and share my findings. That it’s a landmark in Manchester, is a given. It’s close to Central Station. And there are lots of railway buildings in that area.
£740 (As exhibited.)
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