Exploring texture and form

A Transformative Experience at Newlyn College of Art

As an artist, I’m always seeking new perspectives and techniques that push the boundaries of my creative process. Recently, I had the opportunity to attend a three-day experimental painting workshop led by Dan Pyne at Newlyn College of Art in Cornwall. This workshop offered an exploration of surface texture and the inventive use of materials, challenging us to step out of our comfort zones and embrace a new way of thinking about painting.

Day 1: Stepping into the unknown

The course began in one of Newlyn’s bright and airy studio rooms, a space that felt inviting and inspiring from the start. The room buzzed with the anticipation of new possibilities. Dan Pyne, known for his innovative approach to art, introduced us to the workshop’s central idea: texture as an expressive tool. While colour often takes the spotlight in painting, Dan’s philosophy suggested that texture, too, can be as emotional and powerful in conveying a narrative.

The first day was dedicated to experimenting with unconventional materials—particularly gesso and sand. Gesso, traditionally used as a primer for canvases, was now being approached as a medium in its own right. The addition of sand brought a gritty, tactile element that transformed the smooth gesso into a sculptural substance.

We started by applying gesso onto our canvases with palette knives, building up layers to create a variety of textures. Mixing in sand added an unpredictable element; the roughness of the grains disrupted the surface, creating intriguing patterns. I found myself instinctively running my fingers over the canvas, fascinated by the rawness and physicality of the texture. It made me reconsider my approach—not just focusing on the visual impact of my work but also its tactile experience.

This exploration sparked ideas immediately. The way the gritty texture interacted with the light and shadow reminded me of the rugged landscapes of Sligo, which often inspire my work. The unpredictability of the materials felt akin to the unpredictable weather and shifting light of the Irish coastline. The entire process was freeing, allowing me to explore without the pressure of a specific outcome.

Day 2: Building Depth Through Layers

On the second day, we delved deeper into creating layered textures. Dan encouraged us to work with patience, allowing each layer of gesso and sand to dry before applying the next. This technique emphasised the importance of depth, revealing how even subtle variations in texture can create a more immersive viewing experience.

Experimentation was at the core of the day’s activities. We used a range of tools—palette knives, brushes, even our hands—to apply and manipulate the layers. I was amazed at how different tools created distinct effects. Scraping away sections of the dried gesso revealed the underlying layers, creating a sense of history and storytelling within the piece. It felt as if I was excavating my own work, uncovering hidden elements that had formed organically throughout the process.

What I found particularly exciting was the unpredictability of the medium. Sometimes, the gesso would crack as it dried, forming intricate lines and crevices that resembled dried riverbeds or the weathered bark of an ancient tree. At other times, the sand created a more uniform, rough texture, reminiscent of the stony beaches of the Irish west coast. Each piece was becoming its own landscape, a map of textures that invited exploration.

Day 3: Bringing it all together

By the final day, I had fully embraced the experimental nature of the workshop. I spent the morning refining a few pieces I had started on the first day, applying additional layers and experimenting with pigments to see how colour interacted with the textured surface. The pigments absorbed differently depending on the thickness and texture of the gesso, creating a dynamic interplay of hues that I hadn’t anticipated.

One particular piece stood out to me. It was a small canvas where the gesso and sand had dried with a series of fine cracks running through it. When I applied a wash of deep, earthy pigment over the surface, the cracks soaked up the colour, creating a network of dark lines that looked almost like veins. It felt like the painting had developed a life of its own, an organic quality that was both surprising and deeply satisfying.

In the afternoon, we gathered to reflect on our work. Dan emphasised that this was just the beginning of our exploration. He encouraged us to take these techniques back to our own studios and continue experimenting, pushing the boundaries of what we thought was possible in our painting practice.

Reflections: A new approach to art

This workshop was more than just a lesson in technique; it was a profound shift in how I approach my art. Dan Pyne’s focus on texture opened up a new dimension for me. I realised that texture can evoke emotion and atmosphere just as powerfully as color and form. The roughness of the sand combined with the smoothness of the gesso created a dynamic interplay, inviting the viewer to engage with the work on a tactile level. It made me think about how the texture in my paintings could reflect the landscapes that inspire me—the rugged coastline of Sligo, the ever-changing light, and the weather-beaten stones.

The unpredictability of the materials was both challenging and liberating. It forced me to let go of control, to embrace the process rather than fixate on the final outcome. This approach reminded me of the importance of play and experimentation in art—a lesson I’m eager to carry forward into my future projects.

Looking Ahead

Inspired by this transformative experience, I’ve decided to enrol in Dan Pyne’s year-long studio course. The opportunity to continue exploring these techniques in a more structured environment is something I’m excited about. I can already see how these new approaches to texture and form will influence my upcoming works.

This workshop at Newlyn College of Art has not only expanded my technical skills but also reinvigorated my creative spirit. It’s a reminder that sometimes, the most profound shifts in our artistic journey come when we step out of our comfort zones and embrace the unexpected. I look forward to seeing how these new techniques will evolve in my practice, shaping the stories I tell on canvas and offering a new way for viewers to experience my work.