The Brexit mermaid. Windows of Rye. 2019

The Brexit mermaid. 2019. J.Harms.

The Brexit mermaid. Windows of Rye. 2019. J.Harms. Acrylic on paper. 62×48 cm.

The Windows of Rye paintings are a reflection on Brexit. The term « reflection » is to be taken both literally and figuratively. Brexit was to happen in March of this year, but has been moved back to the end of this month. Will it happen or not ? I think nobody has a clue.

In Greek mythology, any creature that is part female, part something else, is not a good omen. Such creatures will most of the time lead you to your death. If you look at them straight in the eye you will turn to stone, if you give the wrong answer to their question, they will devour you, if you listen to their song you may end up mad and drown  yourself. I wonder what this one will end up doing to Europe and the UK.

The Gate . 2019

The gate. 2019. J.Harms.

The Gate . 2019. J.Harms. Acrylic on canvas. 22x27cm.

Taking a small break from my « Windows of Rye Serie ».

There are two parts to Rye, the one built within the fortifications, the more historical side, with its church, castle and cemetery, and the one built outside of the fortifications, the more contemporary side, with its supermarket and train station.

The ultimate purpose of a door, I believe, is to warn of a coming change. Those that decide to walk through the door, are somehow informed that their perspective is going to change.

If one crosses a door and then turns around, their grasp of a place, might totally differ from what they previously thought they knew. They might find themselves in an other reality.

 

 

 

 

Yearly self-portrait au carré. 2019

Yearly self-portrait au carré. 2019. J.Harms.

Yearly self-portrait au carré. 2019. J.Harms.

Another year another portrait. This one is me sitting on my « carpet studio » looking at my reflexion in a mirror. At the back a glimpse of the window overlooking a cherry tree. My work as a decorative painter has been thriving, and sadly my paintings have been few and far between as a consequence. Three so far this year isn’t much. Yet there are so many things I need to paint.

 

La place du fort sous la neige. 2018

La place du fort sous la neige. 2018. J.Harms. 29 x 39 cm. Acrylic on red paper.

I love snowscapes, so when my village got heavily covered in snow a couple weeks ago, I immediately went out to take pictures. I wanted to paint it. Not many people were out and about, but a couple foot prints on the Place du fort, one of the two village squares, were proof that another soul had been here possibly pulling a two-wheeled cart of some kind.

 

La méditation. 2017

La méditation. 2017. J.Harms. 29x39cm. Acrylic on paper.

In Andernos, walking along the pier, a February sun bathing all those wandering by, a woman sits and meditates.

 

 

 

Le toit du monde. 2017

le toit du monde. J;Harms - Copie

Le toit du monde. 2017. J.Harms. 41x61cm. Acrylic on paper.

At the end of last year and beginning of this one, I had the great opportunity to work in a prestigious place. The Hôtel de Crillon in Paris. The hotel has been undergoing complete renovation and it was quite a thrill to be part of this massive project. I was part of Christophe Martin‘s team of decorative painters and our job was to paint the suites designed by Karl Lagerfeld. Needless to say the most extraordinary and most expensive suites of the hotel. During breaks, I would sometimes take advantage of the scaffolding just to climb up to the top of the palace. The view there was breathtaking. While painting it, and remembering the view, I couldn’t help but think about Raoul Dufy’s great views of Paris.

Le grand salon 2017

le grand salon 2017

Back to the “Grand salon” !

Below a selection of some of the paintings that I will be exhibiting.

On a more personal note, a time consuming but awesome  artistic job kept me away from my easel these past couple months,  it also provided me with new ideas for future paintings which I hope I’ll be posting soon.

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