Norfolk: Inspiration and information

My interest in visiting Norfolk was to see some different beaches, we’ve visited Brighton and Bournemouth many times and this year I wanted something new.

That we did, you can read more and see pictures here. Wells next the sea is a brilliant long sandy beach. Being there started a ripple effect as laying in the sand with sunshine and cold evening breeze, led us to planning that the next time we’d be on a beach will be in a tropical climate!

North Norfolk is great for: A relaxing break away from everything, bird watching, dog owners, chilled out days and cosy nights in a cottage.

When visiting Norfolk: take lots of coin change, there are car parking rates all over, some places are hourly others are all days charges. Also bring plenty of money for trips out as they can be quiet pricey!

A few days in a quiet area is enough time to enjoy yourself, especially out of season as there isn’t much open, I saw this as an advantage using opportunities to write without distractions.

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Painting with fire: Roads, tubes, eggs

This is my second painting I’ve done in the Painting with fire with Chris Zydel course and it’s very different to my first Woman’s Worth.

I’m finding that although intuitive painting is a process that is done mostly the same with each new paper I start, the uncertain though magical way of painting this way can bring about so many different creations.

This one I have titled Paths, roads, tubes, eggs; as that’s what I saw developing throughout and still relate to now.

I started my painting with my body still not feeling ‘right’ my feminine system felt all out of whack. Though I didn’t talk about how I was feeling all that much, I painted tubes and eggs.
This mountain came from applying lime green liberally across the page in the beginning and over time took on it’s own form. I was drawn to paint a window or opening of some kind.
This was the part that pushed me most, nothing made sense and it didn’t have to, this is a true test of letting go. As you can see there’s a whole combination of paths, roads and streams, a face has been formed with a tunnel for a mouth and feet are walking on diamonds!
Paths, roads, tubes, eggs

This is what painting with fire looks like

I’m on Week 3 of Chris Zydel’s online course Painting with fire and loving every moment. I paint mostly in the mornings as it’s quiet and the sun is rising, it’s very peaceful.

This is my first finished painting I’ve called A Woman’s Worth, you will see why as you scroll down…


The whole course is designed so that you paint intuitively on your own, though it’s as if you are there with the wild heart queen herself! There are notes, videos, mp3s, live spree casts where you can ask questions and a Facebook group too.

Any level of painter/creative/non creative would be suited to this course, though I think this goes deeper than I’ve ever painted before.

You really paint from your whole self, go with what you feel, come up against resistance and it’s a journey, sometimes is hard but you come back to your body and a place of love and keep painting!


A great point that was brought up that really resonated with me as I’ve decided to ditch being an art therapist goal was that art therapy is more about analysis and intuitive painting is all about expression. That’s also the theme of my upcoming goals (and slogan of course) to do expressive art and creativity, to create freely.

The painting below is about opening up, about being whole and free. It is also a giant vagina ha! I’ve also had some small health issues lately with my body and especially female system.

Sometimes I notice I paint them rather than talk about them, you will see this again in my almost finished second painting. They just come through and I listen, following the feeling and guidance from my intuition.

Finished: A women’s worth


3 Fresh ways at looking & creating landscape art

Within the drawing course I have just completed was a section where I drew landscapes and mostly didn’t enjoy doing them. This being as the criteria asked for ‘a realistic portrayal of the view’, basically asking me to mirror what I see in front of me and put it onto page, or else. Drawing and painting in that way is not for me.

The invitation of going to see a local landscape exhibition came up and though it brought up a little resistance to Landscape Art, I stayed open and went along.


While I was there this point really stuck with me:

The early years of century artists used landscapes as a vehicle to express their own interests and experiences while still suggesting the geography of the place.

This opened up fresh ways of looking at and/or creating landscape art in these ways:

  1. Landscapes can be produced in abstract form by breaking what you see into shapes, lines and colours. My favourite artist who demonstrates this is Paul Klee who uses blocks of colour to show nature in a simple form. At A sense of place exhibition, the art with the most energy for me were art works with blocks of paint, shapes and lines giving me a sense of what was being painted without a need for every detail of the view to be shown. An example of this are the works of Lilan Holt and Alistar Grant.
  2. Landscapes can contain spiritual and imaginative elements such as cultural icons and other worldly realities. This was shown in the painting Remembered Land by Victoria Crowe at the exhibition as images of a foot, a head and other objects didn’t bring about ‘randomness’ instead it drew you into the painting, naturally you wondered about it more. Playful pieces with a imaginative sense to them, make scenes interesting, full of life and fun.
  3. Landscapes can be produced as a form of expressing how you feel about a place you love or find yourself in. This is an open invitation to let your own expression shine! Whether it be with: pens, pencils, paint, collage or anything else. A mixed media piece at the exhibition I found inspiring was The Garden of Earthly delights by Dominic Madden. Up close you could see a background of newspaper print with peoples faces and text with an overlay of tissue paper in long shapes, making out images for trees. Then as you took a few steps back, the paper print was no longer visible in it’s original form but instead as a colourful forest!
Abstract expressive work by David Bomberg and Michael Ayrton.