Laura Drever

A few trips to Spain have taken up this month.

Swimming in the Mediterranean, soaking up the sun, being surrounded by Gaudi and Miro and spending time with family.  In between times, painting has been intense, walks have been needed to refocus and thoughts that go along with preparing for a solo exhibition have been on my mind constantly. 

It’s been busy in all the right ways. 

Also, this month I was invited to discuss my practice – research for a phd – Anne came to the studio and over a cuppa we talked about place, time, influences, being a mother, being Orcadian, being a painter. It is not often that these discussions happen, mostly because I find them quite hard to find the correct words: painting comes naturally, speaking about painting not so much. Saying that, the conversation lasted for over two hours and it was great to share.

One of the many things discussed was the decision to paint Orkney. I’m often asked why I don’t paint other places – a good question. When 18 years old, I remember a conversation with someone about what my practice was going to be – I said ‘Orkney and painting’. And that was it. Documenting home, over time, through the seasons. Getting to know it well, walking it to do so. When paying attention to a place, the subtle changes of light, new growth and its changing colours allow for something new to be painted every day.

Of course visiting and experiencing other places feeds into my thoughts, mostly in the way that I try to look in the same way. Paying attention to detail, considering the differences in a way a place is put together, how nature lives in it. Visiting art galleries, learning about artists and surrounding myself with all the things that inspire.

When in Barcelona we visited all the sites, I was so blown away by the architecture.  The Sagrada Familia is really something quite special, it’s pretty overwhelming!  The scale, the detail, the time that has passed since the idea was conceived, that it is nearly complete. I visited over 20 years ago the change in its construction is massive –  it brought a tear to my eye seeing the hand carved details, it really is a beautiful building.

At the Joan Miro Foundation, the exhibition included a Rothko, a Frankenthaler, a Pollock, a Kline amongst others. One of my favourite was by Peter Miller – actual name – Henrietta Myers Miller. Imagine having to take on a male name in order to be seen in the art world? A prominent thought was – how lucky to be in a time where this doesn’t have to happen, the woman artists before us have paved the way for us to be seen just how we are. That’s inspiring in all sorts of ways!

Trips away allow me to see Orkney in a new light on return – each time a bigger appreciation of the landscape, the fresh air and space we have here, it’s history, the way the land has been utilised over the years, the people who have settled here. It’s layers of history, the cultural opportunities, support from other creatives. For such a small place, we really do have quite a lot to be inspired by and I’m so pleased to call it home.

So now it’s back to the studio for one last big push. Deadlines are looming and there is lots to think about after the paintings are complete – I’ve gotten to know them so well over the last year forget nobody has seen them. Most have been named already, just need signatures to add the full stop.

If you would like to be the first to view the new body of work or know anyone that would be interested, please get in touch and you will be added to the mailing list that will be shared with the Scottish Gallery.

As always, thanks for taking the time to read and showing an interest in my practice. It is great to have you here.