Blogging with Parkinson's

A personal perspective on Young Onset Parkinson's

Leave a comment

Mervyn Peake winning entry shortlisted for Artist of the Year competition

This is a cross-post from my art blog. It’s relevant here because the painting that got me shortlisted was orignally inspired by the Mervyn Peake Awards (Parkinson’s UK) theme, “Inspire”. I’m also posting it here because you can help me – there is a Reader’s Choice vote online and I’m told that it is hotly contested and I should ask all of my friends and acquaintances to vote for me.

The UK magazine Artists and Illustrators runs an annual artist of the year competition. I entered it and was delighted to hear that the judges had shortlisted my  Shelves of Inspiration. There are 50 artists on the shortlist, and all of the pieces will be on display 23 – 28 Janaury 2017 at the Mall Galleries, London.

Part of the competition is a Reader’s Choice vote. If you want to vote, you can see the whole shortlist here:

If you know that you want to vote for me, click here.


Leave a comment


watermarked-FWph1-3000This is Basingstoke.

Well, it’s a four-foot long painting of Basingstoke from the other side (south) of the M3. It’s called “Farleigh Wallop!” (although sometimes I forget to put the exclamation mark in), because that’s the name of the village  close to my viewpoint.

This painting is my largest single work in the exhibition The Basingstoke Project, the first collaborative project and group show by…


which is five local artists, working together, for this and – we hope – subsequent projects.

We decided to focus on the town because it is a natural focus point, and because we didn’t think that Basingstoke had come under artistic scrutiny very often in the past.

We set out to create:

an active, reactive, artistic response to the people, places, buildings and character of Basingstoke.

A project to inspire and surprise.

In the course of the project, we learned to look again at the town. We were inspired. We were surprised.

We found hidden gems; we found delight in the familiar; we found our own visions of Basingstoke.

So runs the exhibition statement that I wrote last night, and which we put up for today’s private view.


A rather poor photograph from the entrance to the gallery.

The exhibition itself starts on Monday, and runs for just under two weeks. Not much time, but I hope long enough. If you do find yourself anywhere near Basingstoke, you might like to brave the one way system (help is at hand) to find Proteus Creation Space.

The exhibition is open Mon to Fri 10am – 6pm, Sat 10am – 3pm, but closed Mon 1 – 3pm and Tue 1 – 2:15pm.

And if you do visit,

We hope that you enjoy the exhibition, and that you leave with your eyes and your mind open, and with joy in your heart.


Leave a comment

UK Art Aid – Cancer Charity

This is a cross-post from my art blog. It’s got nothing to do with Parkinson’s, but it is a good cause and I thought that it was worth giving it the maximum exposure possible.

The UK Art Aid Web site is now live. There’s a whole stack of stormy paintings that can be bought as originals (£200) or prints (£65), including my very own Godrevy Storm.


Leave a comment

Parkinson’s Law

This bike needs a shed…

Yesterday, at work, I was introduced to the concept of “Bikeshedding”, which my colleague (who is unaware of my medical condition) told me was also called Parkinson’s Law.

Wikipedia (that not-entirely-credible repository of all things known to geek) states that Parkinson’s Law (which is not to be confused with Parkinson’s Law of Triviality)  is:

Work expands so as to fill the time available for its completion.
Cyril Northcote Parkinson

So very true. But not what my colleague was referring to. Continue reading


Cheeky cross-blog marketing ploy

I recently introduced you to my Art Blog.

If you have a wander round, you might find a few paintings of LEGO® minifigures. Little tiny things, 7 cm square, they are – just for fun, really. (I tend to consider the landscapes to be the “serious” work.) Over the past year, I have painted 56 minifigure paintings – and now I have collected them all together in a book.

Continue reading


Chiclet Keyboards and Recalcitrant Touch Pads

I have a new laptop. It’s very nice, but I really don’t like the keyboard. It’s one of those “chiclet” keyboards (the name is something to do with American chewing gum) that are supposed to save space and be generally wonderful. Well, I don’t like it. I was already having trouble hitting the keys on the left hand side hard enough – now it seems that I can’t hit any key hard enough. And it really is this keyboard, or this type of keyboard; I’ve been using a desktop elsewhere, and that is just fine and dandy (with the possible exception of those tricky A’s). Continue reading

1 Comment

Painting with Parkinson’s

This post isn’t really about Parkinson’s. It’s about me, and a little bit about how Parkinson’s has given me back my drive to paint. (Not that I drive to paint; I tend to prefer to walk to do it. But that was a very bad pun.) It’s also a little bit about how it feels when I’m painting and how Parkinson’s affects that.

Cannon Heath Down from White Hill, 24 August 2011. Oil on canvas.

Cannon Heath Down from White Hill, 24 August 2011. Oil on canvas (14 x 18").

I love painting. I have always loved painting. I do have a little natural talent in that direction, but I didn’t go to art school. (I went to university to study science instead. Then I did a few evening classes and half of an Open University degree in Art History. Then I had children.)

I’ve managed, one way or another, to have a few days this year when I could get out and about without the children. Some of those days, I spent walking (as mentioned earlier, I like walking, preferably in the countryside). And while I was walking – often up the biggest hills I could find – I was also, consciously or otherwise, scouting for locations to paint.

In an earlier post, I mentioned the Mervyn Peake award. This is an arts competition open only to people with Parkinson’s. When I heard about it, I thought to myself, “I really must have a go at that”. But there wasn’t much time, and the weather was poor, so I painted some flowers. In acrylic, because it dries quickly and doesn’t imbue the house with a curious smell (I must admit, I quite like the smell of oil paint, but I don’t live here alone, and I don’t have a room that I can dedicate to painting and shut the door on). You can see part of it in the banner for this blog. It was the first “proper” painting that I had done for many a year, not counting the wedding card watercolours of flowers that I always do for my friends.

I sent the painting in to the competition, but I didn’t really have much hope. It wasn’t really very exciting. In fact, the subject was hackneyed and predictable, even if I had only just discovered (after choosing the flowers) that the tulip – specifically a red tulip with white edges – is the international symbol for Parkinson’s. It was technically good, my painting, but lacked that certain je ne sais quois. It was also rather poorly composed. Needless to say, it didn’t win anything.

But then the weather improved, and the idea of sitting and painting en plein aire, as the Impressionists used to say, became a plausible aim.

Bluebell Wood, in it's carrier - the first of these that I made. There's a cardboard sleeve (pre-made - I just 'repurposed' a handy box), not shown.

Bluebell Wood, 24 April 2011. Oil on canvas board (12 x 10").

In April, I painted some bluebells. That’s them over on the right.

In August, I painted a hill (twice, so far – it’s a very picturesque hill, and it’s only about two miles away). You can see the second version above.

I like working in oils, and was determined to use them. Oils take ages to dry (and I mean ages – a week before they’re dry to the touch).  So, before I went on any painting expeditions, I had to solve a fundamental problem: how do you carry a wet painting home again? I’m not entirely sure how the Impressionists managed it, but I had a look around on the Internet and discovered that:

  1. it is possible to buy devices that allow you to carry wet paintings, but they are mostly expensive and heavy (being made, frequently, out of wood), and
  2. it is possible to make your own out of cardboard.

I gathered a few design inspirations from what I saw and read online, and set to work. Such carriers need to fit the support (this is a fancy artist’s word for “the thing that you are paining on”; usually, if painting outdoors in oil, it will be a board or a stretched canvas), so if you use different sizes of board or canvas, you need one for each size. Stupidly, I bought lots of different sizes.

My basic idea is as follows:

  • Make a cardboard box to fit the canvas or board, with extra depth built in. It doesn’t matter (much) if the box is not perfectly rigid, because the board or the canvas has its own rigidity.
  • Use the fact that a painting will spend its decorative life inside a frame to your advantage; those bits right at the edge of the canvas are expendable! So, I build up the very edges of the interior of the box with strips of corrugated cardboard; the support sits in the box face down. Sometimes I use little triangles in the corners, too.
  • Add some bungee cords to keep the box closed and to help keep it on the back of your rucksack, and you’re done!

This approach works quite well if there is enough air between the box and the support. The bigger the support, the more air is required so that the box doesn’t come into contact with the paint.

The next problem was getting the amount of kit right. There is, after all, only so much stuff that you can lug up and down hills, through narrow footpaths and over stiles with overhanging trees. There is also only so much stuff you can manage once you’re set up in the field (or on the hillside, which is potentially worse as the ground is decidedly not flat). Little pots and pans for liquids (i.e. turpentine and linseed oil) aren’t a good idea if you haven’t got a table. So I decided not to bother with liquids. Paintbrushes tend to need cleaning – with turpentine – during and after a painting session. So I decided not to bother with brushes.

Fortunately, I have a very nice painting knife. Painting knives are extra-flexible palette knives, designed for applying paint with. They are quite fun to use.

Impromptu paletteThe first time I went out on a painting expedition, I forgot about a palette (for mixing colours) until the last minute. I couldn’t get at my usual palettes easily, so I improvised: a sheet of greaseproof paper clipped to the inside of the lid of the box I keep my paints in. It worked, but was slightly restrictive, so I bought a pad of tear-off palettes for subsequent excursions. My wooden one would have been awkward to carry home covered in paint.

Painting kit. And map.Then there’s the folding stool, folding easel (a lightweight metal design) and the plastic box with paints in. Throw in lunch, water (to drink), first aid kit (never had to use it apart from treating blisters), and sundry other stuff and my painting kit weighs 5.5kg.

And, of course, there are no bins out there on the hills. So you have to carry your waste home – mustn’t forget the plastic carrier bags! Essential for torn-off palettes and painty bits of kitchen roll, among other things.

So, what is it like, painting on the hills? It’s marvellous. Absolutely bloomin’ marvellous. I revel in the fact that I’m up there, out there, doing something I love and doing it well (most of the time; the beauty of oils is that mistakes are readily corrected!). I’ve enjoyed the walk, the challenge of finding a good spot (one where the view is good and the easel won’t fall down the hill…) I love the fact that I have a limited time to finish the work in – I don’t intend to come back, except for a new painting – and I love that there will be a concrete result at the end of it all. It’s a type of freedom. No housework. No childcare. All that matters is the hill, the paint, and the moment.

The moment extends until I realise that my left arm has seized up (usually, I only notice when I need to open a tube of paint). It’s been holding the palette and the hand, in particular, has got unbearably stiff. Ouch. Time to put the palette down and stretch

Apart from that, the Parkinson’s doesn’t bother me. There are no palette hand tremors (that left hand does shake at other times). And I’m still early enough in my Parkinson’s journey that I can still scramble around on a hill without too much trouble. In fact, it’s quite possible that scrambling around on the hill is helping in itself – it’s all exercise, isn’t it?