Honeysuckle Still Life
An original painting on gessoed board
Framed in two options: Black Wooden Frame (no mount), Ivory Wooden Frame (no mount)
Unframed size approx: 14.4 x 20.9cm (5.7" x 8.2")
Black Framed size approx: 21.4 x 27.9cm (8.4" x 11")
Ivory Framed size approx: 25.2 x 31.7cm (9.9" x 12.5")
Date of Artwork: June 2022
Location of Signature: Bottom Right
Please note: Our framers are recognised by the Fine Art Trade Guild for their quality because the custom frames have tightly pinned corners, and are made from precision cut wood in England, made bespoke for each order. All our frames are glazed with our Clarity+ Perspex. It's cut from the highest quality acrylic sheet that's both crystal clear, but also safe and filters out 99% of UV light to protect the artwork.
Read more about our FRAMING WORKSHOP here
Scottish artist Tracey Johnston’s paintings sit within layers of historical influences; from ancient mediaeval frescos to a long line of female artists who chose the study of the ‘still life’ as their muse.
Based in the north east of Scotland, Tracy studied printmaking at Gray’s School of Art, followed by an MA in Fine Art where she began her research into the techniques of fresco painting. This led to an appointment as a John Kinross Scholar and concentrated periods of study and research in Italy.
This new collection of paintings and monoprints, created for The Shop Floor Project has focussed on the subject of the Still Life. Creating compositions with her own objects and flowers from her garden, Tracey ignites a highly personal scene that follows in the tradition of painters such as Winifred Nicholson, Anne Redpath and Victoria Crowe - all of whom utilise the Still Life to explore themes as varied as colour theory, internal/external space and domesticity.
“Spending more time at home recently has made me pay more attention to the things around me, the objects I have collected over time and what I share my space with. Each piece of pottery, furniture, ceramic and figurine has a story to tell, evokes memories and through experimenting with composition, colour and scale these everyday objects are celebrated and in doing so, become extraordinary”
For this collection Tracey has revisited her printmaking roots and explored ideas through monoprint. These evocative pieces are born through a delicate process with only a single print taken before the image is lost. The appearance and texture also speaks of this fragility, with each monoprint coming to light like an unearthed image, dug up from the past and saved just at the point of decay.
Using a colour palette inspired by mediaeval natural pigments, Tracey’s paintings are rich with layers, from the original sketches on board to the building up of different paints to create her specific patina. It is no surprise that her interest in ancient techniques led to a period working as an archaeological Illustrator.