Red hot cherry ore
Ralf Bidder

“I usually do not use any stain or colour or paint in my workshop and therefore looked forward to try out this beautiful dark red. My usual way of using vegetable oil didn’t yield any lasting results and I could basically blow off the paint after the oil was dry. One thought came to my mind: Heat. Like pottery glazing. I whipped out my blow torch and applied the roaring flames to the paint and bowl. Great idea but the results were not quite what I hoped for. The paint does not change colour under heat treatment, the bowl, however, does! Next step was using a more chemical based oil with all the solvents and hardeners that you will find in any tin nowadays. And that worked. The results of my experiment with Egremont Red are now visible and stays so even if you touch the bowl.”



Hand over hand
Jane Foale
75cm x 85cm

“I first visited Florence Mine in 2005 and was taken underground by resident mining engineer, Colin Nichol. After this memorable visit Colin gave me a large sack of red gravel which, with the help of Leeds University’s grinding shed, I made into pigment. When Penrith Museum invited me to mount an exhibition responding to the Elizabethan mine workings of the Caldbeck Fells, I used the pigment in this work reflecting the repetitive marks made by miners’ hands. It’s so exciting to come back to Florence in its new guise and see the work in its home setting.”



Crossing the Clyde 2
James Murphy
58cm x 76cm

“The natural red ochre pigment of the powdered paint reminded me of the red ochre pigment used in Aboriginal Art: with this in mind I decided to limit my colour range to the Egremont Red plus charcoal and white chalk. The pigment was mixed for some passages of the work with oil and turpentine, in other areas mixed and applied as a watercolour wash. For some tonal passages the pigment was mixed with crushed charcoal and for others crushed chalk.”


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If you want to see more pieces from our recent exhibition click here