WELCOME
contact:
E: info@franceshatch.co.uk M: 07946903930
E: info@franceshatch.co.uk M: 07946903930
MY PRACTICE
'Geology provides my pigment. Sun, moon, tide and season animate, reveal and conceal. I witness matter on the move: particular, provisional, exquisite.'
Direct work en plein air is central to Frances' practice. She feels her way into the particularity of each site with all her senses.
Each site offers its own palette and initiates a way to begin her response… at times she integrates colour (with water-based binders: gouache, acrylic or watercolour) with what is available in the landscape and at others the geology and found material offers all.
When grubbing around for tools and pigments in each environment, she makes discoveries about a place that she might otherwise miss.
'And that's the real value and privilege in what I do: it is by hanging around in a place that it reveals more and more of itself - and I know that for as long as I can be present to it- that vivid complexity will increase.'
'If I were to imagine a cloud of creative companions I would be walking with the writer Nan Shepherd, trying to keep up with Richard Long's wide stride, bumping along a track with JMW Turner, expressing watercolour overwhelm with Nolde, mixing colour with Berte Morisot and Gwen John, getting blown about with Joan Eardley (but I wouldn't bother with an easel), listening to rain falling with Thomas Merton (and then probably needing to write too...but certainly not as much), 'reading' a cliff face with geologist Ian West, working with 'what is' with Chris Drury.
And in my nineties I would join Louise Bourgeois in working large and fearlessly.'
Nov 17
Direct work en plein air is central to Frances' practice. She feels her way into the particularity of each site with all her senses.
Each site offers its own palette and initiates a way to begin her response… at times she integrates colour (with water-based binders: gouache, acrylic or watercolour) with what is available in the landscape and at others the geology and found material offers all.
When grubbing around for tools and pigments in each environment, she makes discoveries about a place that she might otherwise miss.
'And that's the real value and privilege in what I do: it is by hanging around in a place that it reveals more and more of itself - and I know that for as long as I can be present to it- that vivid complexity will increase.'
'If I were to imagine a cloud of creative companions I would be walking with the writer Nan Shepherd, trying to keep up with Richard Long's wide stride, bumping along a track with JMW Turner, expressing watercolour overwhelm with Nolde, mixing colour with Berte Morisot and Gwen John, getting blown about with Joan Eardley (but I wouldn't bother with an easel), listening to rain falling with Thomas Merton (and then probably needing to write too...but certainly not as much), 'reading' a cliff face with geologist Ian West, working with 'what is' with Chris Drury.
And in my nineties I would join Louise Bourgeois in working large and fearlessly.'
Nov 17
BLUE BLOOD SUPERMOON (smudging above the ridge. Seen from Abbotsbury camp....2018. gouache, site material (fabric fragments and earths) on handmade indian paper.
PEAT SWIFTS
PEAT SWIFTS 2017 peat and acrylic on unstretched canvas
Swifts arriving over the lagoons and reedbeds behind the Chesil beach from the direction of Portland.
 detail of moon hanging over Studland Heath. watercolour
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Wet Wilding Moon. Made on location at Cogden carpark, Chesil. Site material, collage and acrylic on unstretched canvas. 26x30cm. August 2016.
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INSTAGRAM FEED: @francesahatch
informal responses to moments as they come and go
informal responses to moments as they come and go