Western Morning News Article

Artist plans Penlee tribute to human spirit
WMN 2011-10-01 P. 7 Picture Guy Channing

A painting by a Westcountry artist commemorating the 30th anniversary of the Penlee lifeboat disaster is to be unveiled at Truro Cathedral later this year.

The tragedy in December 1981 claimed the lives 16 men and women, including eight lifeboat crew. The lifeboat, the Solomon Browne, was launched into horrendous conditions to go to the aid of the stricken Union Star a few miles south of Tater Dhu lighthouse.

Plymouth-based artist David Folley is working on a new painting - titled Penlee: I hear voices that will not be drowned - as part of his project on the human spirit.

"I have often pondered what makes individuals voluntarily put their own life at risk for the benefit of others." Mr Folley said. "My human spirit project attempts to illustrate the very best of human compassion. It should not be viewed as a glorification of a particular event but as man's unselfishness in the face of adversity.

Sadly some are lost but the spirit of their endeavours lives on in our hearts. we are all aware of the fine tradition and heroic deeds of our emergency services: air rescue, fire service and ambulance. Penlee is dedicated to national lifeboat heroes past and present."

Mr Folley had already produced some concept work after undertaking research with the help of the Scottish Maritime Museum, where the last remaining sister vessel of the Solomon Browne is on display, and the RNLI.

He added: "I hope to make the final painting as large as possible so the detail had to be right. In the circumstances I think that is in keeping with the subject."

Penlee: CCD

The last couple of weeks have been frustrating with technical difficulties. The composition is going well; but, and as past experience as taught me there is normally a big but when painting such large canvases. My gut feeling with regard to this present paper composition is, it’s too small. The amount of information I am intending to render into the picture plane is considerable.

The paper composition has to be larger. I have already extended the original drawing by sticking it to a larger sheet of paper. It works well but unfortunately the revised design is not as ‘successful’ as I was hoping. Reviewing the compositional design I have decided to enlarge the work even more. I believe the subject demands a greater presence and by enlarging the image will significantly enhance the dramatic response of the viewer.

Just a small digression here for clarity. The creation of a painting is not enough and there is a fine line and governing rule which legislates to distinguish between artworks which are ‘decorative’ or ‘successful’. I strongly believe when creating a work one of the painter’s major responsibilities is to be aware of the many interpretations the viewer will read into the work.

For the artwork to be completely ‘successful’ the painter’s mindset has to be in tuned with the spectators; and I must emphasize this point here, it cannot be vice versa. The hidden symbolism is the ‘hand or handle’ of the work which communicates accessibility to all. The work should also distinguish between those who think they know and those who do know! With these coded surprises the painter will delight and his labours will be rewarded. It is fair to say – poor is the painter who neglects this legislation.

Returning to enlarging my composition. The first challenge is to paste the paper to a canvas support. A couple of days ago I decided to paste the paper CCB to canvas. Allowing 24hrs for the paper to dry out, returning to my studio the following morning I was greeted with the paper lying face down on the floor. My attempt to thicken the left over paste was not successful; finally the procurement of a fresh packet of paste was required. Job Done!

My reason for sticking paper to canvas? The paper format and size is not enhancing the composition and the thin paper would be difficult to support. The board the paper is attached to is far too small. The studio image is stage 3.

Stage 3. Illustrates the original drawing (stage 1); a large drawing (stage 2) and (stage 3) is another piece of paper attached to the left hand side.

Stage 2 with Stage 1 missing Stage 1 and 2

Stage 1,2,3 and 4