So many things going on! and an invitation to you...

If you’re like me, this is already a busy time of year - especially if you have children, but even if (like me) you don’t… Hallowe’en, the run up to Christmas, parents and children… and the weather has been so lovely I think we have all forgotten that winter is looming! Even my wardrobe is in chaos because I don’t feel ready to put my summer clothes away yet!

Anyway, I obviously like to make my life more complicated though, so I have taken on a massive project - raising funds for the RNLI for their 200 year anniversary of saving lives at sea

AND

I’d like to invite you to come and see some of my paintings in the real world. The lovely people at Lilfords Gallery on Castle Street in Canterbury (Kent, UK) have invited me to show some work in their rather prestigious Autumn Show. It starts on 21st October 2023 (for 2 weeks) and I will be there from 2pm on that Saturday, so if you fancy a glass, I’d love to see you :D

Between now and then though, I am travelling to the beautiful Channel Island of Guernsey. I have been invited to come and paint Vazon Beach (on a huge canvas!) for a client and I am taking the opportunity to start my RNLI project officially while I am there. I’ll be visiting the lifeboat station in St Peter Port and driving around to capture some of the beautiful views on paper and canvas.

My project for the RNLI is focusing on Britain’s relationship with the sea. I think we Brits have a different kind of relationship with the sea to most other nations. More than 95% of the goods consumed in the United Kingdom arrive by sea, via a global industry that most Brits don’t give a moment’s thought to. Obviously, it is also our moat - our defence against most threats - but historically it has also been our path to riches. I believe we consider it to be more friend than foe - many other island nations around the world have a more grudging relationship with the H20 eating into or submerging their shorelines.

And I’m pretty sure that we consider the sea to be our companion partly because we have one of the best coastguard and lifeboat services in the world. I can tell you from personal experience that the ocean doesn’t feel so much like a playground when you don’t have them on the end of Channel 16…

Do you have any thoughts on this?

Let me know,

Em x

Making progress in these peculiar times

Hello! Some extraordinary things have been happening around here.

First of all, and this is still causing me to catch my breath when I think about it too much, the Lilford Gallery (www.lilfordgallery.com) chose three of my paintings to be in their Autumn Show. If you don’t know them, they also stock work by art world superstars like Tracey Emin and Sir Antony Gormley, so it’s a real honour to have been chosen and included in this show of new artists.

Sailing on a Summer’s Evening - to learn more about this painting and see the others they chose, have a look here: Autumn Show at the Lilford Gallery

The show is on until Saturday 12th November at 5pm so do go and have a look if you’re in Canterbury. There’s some serious new talent on display.

Between England, the UK and Germany, I’ve been travelling a lot this past month - by car rather than by boat, for a change. After several trips back and forth to northern Germany and to the UK, I am now holed up in my studio on board the barge in the Netherlands to complete a series of commissions.

Dietmar ogling the tall ships in Enkhuizen

The first is a portrait for which I have done a lot of preparatory work, and the second is a big triptych for which I have had to put in a special order for the canvasses (I have no space to stretch them myself here!). Then I have a beautiful nude to paint, about which I am very excited, and then two more portraits. I have my work cut out!

The triptych in particular is a really interesting project. The person who has commissioned it bought a beautiful apartment on the top floor of a building in the glorious German city of Lübeck. He wanted to buy the apartment at the other end of the building as he preferred the view but it was already sold. He now has a blank wall where that view ought to be, so he has commissioned me to paint the view. Getting reference photos involved knocking on the neighbour’s door on a fine day. He was a bit surprised, but surprisingly friendly (thank goodness!)

That part of Germany is really interesting. The Hansa league towns still have so much history on display. If you don’t know the area, Lüneburg, Lauenburg and Lübeck are all well worth a visit.

And in the meantime, I’ve been painting Dominica - I’ll share those paintings soon.- and Dietmar and I are both dreaming of getting back out there on the ocean again.

If you’re crossing the Atlantic this year, we wish you all the luck and some beautiful following winds. Needless to say, we’re a bit jealous!

That’s all for now. I’ll leave you with my most recently sold work - Slipping By, By Moonlight - see below - and a promise to try and share these commission works in progress here as well as on Instagram and Facebook. If you are not already connected with me on social media somewhere, try any of the following links:

www.instagram.com/EmmaHenkeStudio

www.facebook.com/EmmaHenkeArt

www.linkedin.com/EmmaHenke

Slipping By, By Moonlight - oil on reclaimed boat project marine plywood, 35cm x 50cm, Sold.

Talk to you soon!

Em

xx

12 tips and tricks for first-timers: plan your perfect plein air painting session

I was terrified when I first started painting outdoors! I was convinced that people would be rude about my work, or that my easel would blow away, or… a thousand fears ran through my mind. Despite my catastrophising, I somehow plucked up the courage to get out there - and I haven’t looked back since. These are some of the things I wish I knew back then. I hope they help you if you’re thinking about painting outdoors.

My very first solo plein air painting expedition - the rose garden in Southsea, UK.

Tip # 1: You’ll need an easel. Choose carefully. Until recently, I used a super lightweight aluminium easel that I picked up for £15 at Hobbycraft (they don’t stock them any more but this one on Amazon is the same). It weighs almost nothing and packs away very small. I love it. Now I have the French box easel I always wanted (this one) which is very beautiful but a lot more complicated to set up and take down and a lot heavier at around 5kg. I’m in love with it but I also loved the super lightweight one I started with. Your easel choice will be led by your own taste and budget, but I would strongly recommend starting out with the simplest possible equipment.

Tip #2: Wear a good hat and sunscreen. There’s nothing as distracting as sunburned hands or the sensation that your face is on fire! Male or female, hair grips are your friend to keep your hat on (pin them into your hair and through the hat band. Women have been doing this for hundreds of years...).

Tip #3: Make it easy for yourself to begin with. My biggest fear at the beginning (and this is apparently very common) was how other people would react and what they might say. You'll discover in time that people are very kind, but if this is a worry, pick a spot where people can't come behind you to see what you're doing. Then, if they're really curious, they have to ask and you can immediately say "this isn't finished" before they look and draw breath to comment 🤣

Painting in the shade of a convenient tree on the island of Bequia in the Caribbean.
Shade? check. Hat? check. Sunscreen? Check check check!

Tip #4: Keep your painting in the shade, even if it means you have to turn the canvas 180 degrees away from the subject and turn to look. If you don't, seeing the colours becomes incredibly hard and in my experience, you end up with a very pale/washed-out painting where the differences in shade are far too subtle for normal lighting conditions. I don't have a parasol so I use a handy tree/ building shade where I can. Other people use purpose-made or pram parasols, and I’ve seen people with their own pop-up gazebo. I really like to travel light, so that’s not for me but a parasol might be a good future investment, maybe like this one.

Tip #5: Don’t schlepp every art material you own. Pack as follows:
- paints, selectively. I pack whole tubes of colour. Other artists I know dispense their paints onto a strip of plastic or wood which fits inside an airtight container. I like to take the whole tubes as I would hate to run out.
- a palette of some kind. I prefer to use a disposable paper palette so that clearing up afterward is easier. You might prefer a wooden or plastic one, but consider how quickly and easily you can clean it and pack it away afterwards. Painting outside can be really tiring so make it easy for yourself.
- dispense your mediums into small jars (the ones you buy eg salmon roe in are just the ideal size for this). No need to take the whole bottles.
- a handful of mixed brushes
- 1 or 2 canvases or panels, in a couple of sizes/shapes, ready primed/gessoed. Size is personal preference, but I’d recommend starting smallish because you need to get used to painting a whole view in a limited amount of time.
- a pack of baby wipes, cheapest ones work just fine
- kitchen roll/ rags
- a roll of small bin bags
- a bag with handles - to weigh down my easel if the wind picks up (this was more of a problem with the aluminium lightweight easel than with the new one)

Painting the view on the incredible island of Mustique in the Caribbean. I adored it there and wanted to stay longer.
Also - you see that black velcro loop hanging from the easel, right under my painting? That’s where I hang bags with all my paints and water etc in if the wind picks up. Stops my paintings going for a swim…

Tip #6: If you’re considering selling your work, take business cards with you if you have them. Be prepared for people to ask if you sell your work, and/or if you are online somewhere. If you don’t have business cards, have something handy to write on. Make a note of email addresses if you can. I have sold many paintings by promising to send pictures of the painting once it’s finished.


Tip # 7: Take photos regularly of the view you're painting. That way you can finish in the studio/back on board (in my case) if the light changes too much or you have to leave for some other reason. My small pile of unfinished plein air paintings, of views I will likely never see again, are proof that I have learned this lesson the hard way!


Tip #8: Think about how you will get wet work home. Keep it as simple as possible. There are a variety of solutions available if you are not just driving home in your own car, including canvas and panel carriers. When I grow up, I’d like one of these panel carriers but in the meantime, I just lay my paintings flat in the boot of my car or carry them home in my hand. In the dinghy, I hold tight to my painting with both hands and hope that my husband won’t have to swerve really quickly which would cause both me and the painting to go for a swim…


Tip #9: Wear layers. It doesn’t matter where you are in the world (I should know) - the weather can be very fickle. Don’t forget, you won’t be moving around very much, so it’s easy to get cold. Also, if the sun moves round, you might find yourself standing in the sunshine and needing to remove layers - or put them on to stop getting sunburned. A windcheater of some kind might be a lifesaver and they weigh nothing to pack. My secret tip here for painting in cooler climes are the amazing recycled cashmere fingerless gloves from Turtle Doves.


Tip #10: Take snacks and drinks with you. A thermos flask might be your best friend- keeping water cold in the heat, or full of a comforting hot drink when it’s chilly. Chocolate, a banana, a packet of biscuits - whatever you like, but take something with you. Oh, and don’t forget to pop to the loo before you leave…

Tip #11: Let someone know where you’re going, especially if you’re heading off the beaten track, and when you can be expected back. The best spots are often places where few people go . Aside from the obvious personal risks, a flat tyre and no mobile phone signal, or a sprained ankle - and no chance of anyone noticing that you’re still up the mountain - could really spoil your day! Some of the best fun I have had plein air painting has been when other people have come painting with me, or when I have managed to convince someone (eg my husband) that he wants to come and read a book while I paint. I love to have quiet company while I paint, but painting alone is also wonderful.

Never take yourself tooooo seriously ;)


Tip #12: Don’t take any of it - or yourself - too seriously. This is meant to be fun. Sometimes you will create something amazing that you will immediately love, and sometimes you will have a really challenging time with eg the weather or getting your colours right. It doesn’t matter. You can always finish the work in the studio - or you can wait for it to dry and paint right over it if you hate it that much! The point is - you’re practising. And it should be fun!


I hope these tips are useful! I’d love to hear how you get on and see your work if you put any of them into action.

Happy painting!

Em

x




A third Atlantic Crossing…

In three hours, I set off on my third Atlantic crossing. We will stop in the Cape Verde Islands, catch our breath and then set off again on 19th November for Grenada.

I remember my first crossing like it was yesterday. I was so wet behind the ears, with a Day Skipper qualification and no idea at all really. This one, my first on a 50 year old classic monohull, is really going to be an adventure…

I'll be off grid for a week or so until we get to Mindelo. I can't wait to get my paints out again!

See you in the sunshine!

Em xx

A Very British Summer - or - How Not To Sail To The Azores Part 1 & 2

So – where did I get to last? This summer has been full of unexpected challenges, disappointments and joys – where do I even start? 

I know we haven't written any blogs since April, so - to cut a very long interim story short but bring you up to speed - we arrived in Ramsgate from the Netherlands back in May. We did our time in quarantine, caught up with family and friends and then slowly made our way west over many weeks, down towards the southwest of England via the Solent. We visited friends and family along the way and had a really wonderful time. I think I've just about managed to convince Dietmar that Margate is not a representative sample on which you should judge the whole of the United Kingdom, and we didn't go north of the Cotswolds so there's plenty more for him to see one day...

 So - back to the story - at the beginning of July, we had a crewmate join us. FranJo is a friend from Germany  who sailed with Dietmar from South Africa up to the UK back in 2017, Franjo is as famous for his outstanding pancakes as he is for his exceptional drone skills - and crazy hair after a few days at sea ;) That and his effortless charm make him a great crew mate - he's dependable, kind, cheery and he plays a good game of Scrabble (even if he does come up with some very dodgy words ;) ) so we’re always happy to have him on board with us. (He's what the Brits would call a Good Egg. I doubt that translates word for word...)

The three of us left the UK on 11th July from Gosport, which is across the river from Portsmouth in the south of England, just opposite the Isle of Wight in the Solent. We were bound for the Azores. We set off around the eastern end of the Isle of Wight, choosing to dodge the thrills and spills of the narrow passage between the mainland and the island at the western end of the Solent. The tide would have been funnelling out of that tiny gap by the Needles in the opposite direction to 20-25kt winds; this would have likely produced some delightful standing waves and certainly some very confused seas, maybe even the odd little whirlpool and certainly some big eddies. We didn’t fancy this much. Funnily enough, watching the start of the Rolex Fastnet Race back in July, that’s exactly the conditions they had to punch through, poor buggers. We weren’t racing though, and contrary to appearances we are not masochists either, so we took the marginally longer and much more comfortable route instead.

 When I know the weather is going to be crap, I try to cook before we leave. On this occasion though, I hadn’t had the time. In the previous few days, I’d driven to Essex and then Norfolk where I’d dropped a series of paintings off at The Old Harnessmakers’ Gallery in Harleston, driven down to Kent to see friends and my parents, and then to Heathrow to pick up FranJo. By the time I got back to Gosport on the Saturday night, all the supermarkets were closed. Dietmar wanted to leave with the tide on the Sunday morning so I had to run (literally) to the nearest Morrisson’s and back before we left for the fresh supplies (fruit, veg, fresh meat). I stepped on board with the shopping and we cast the lines off almost immediately. It was a mad rush and a wholly unpropitious start.

That Sunday was however the first apparently reasonable weather window to sail west, even though we expected to have light winds on our nose to begin with. As it turned out, we spent the first 36 hours beating hard into the wind but not making much headway thanks to a hefty swell that slammed the brakes on every time Cesarina started to lift her skirts and run. We were see-sawing into the waves. Our foresail – usually the sail that drives us hard into the wind with plenty of success – was sheeted in hard, with its bottom getting a good wash on every third wave. The crew were taking as much of a beating as the rig with each slam into a wave. The novelty and the thrill of the adventure wore off quite quickly as we realized that these could be the conditions we could actually expect for several days. Ugh. This would be our first long passage since well before COVID – since 2017 for me – and we were all pretty rusty. It was all a bit grim.

Beating to wind on board Cesarina

Beating to wind on board Cesarina



I’ve probably mentioned this before, but Cesarina is what we call a very ‘wet’ boat, which means that you can’t sit in the cockpit in even slightly rough weather and not expect to get a soaking. As a result, it’s full oilies all round, and what this means is that going to the loo is an expedition worthy of Captain Cook. First, you have to wriggle out of your lifejacket – while hanging on to the boat so you don’t go flying. Then try to take your jacket off – while hanging on to the boat so you don’t go flying… Now you can go into the loo, and shut the door behind you – while hanging on to the boat… Then try to undo and pull down your dungarees, one handed… then your thermals… then your knickers… then park yourself on the loo but don’t stop holding on to the boat because every other wave is trying to make you knock yourself out on the shower taps which are 3 feet in front of you. Wiping is a fun challenge, and then you have to repeat the whole process in reverse. And don’t forget to flush – pump twice (a big steel lever) to flush out, then turn the tap to let seawater in and pump ten times – put your back into it – then close the tap and pump the bowl completely out – at least another half a dozen pumps. For goodness’ sake don’t forget to close the tap or you’ll sink the boat (I’m not joking – you’d certainly flood it although I’d hope that the bilge pumps would kick in before she actually sank!) If you’re even slightly prone to seasickness, having just spent at least five minutes being thrown about in a small space with no horizon to watch, and the last two of those with your head almost level with your knees,  this is about the time when you wish you’d taken that anti-seasickness tablet before you left the harbour… or perhaps not left the harbour at all!

 

Anyway, this first foray towards the Azores ended when Dietmar had simply had enough. Both FranJo and I were struggling – his obvious seasickness, which was being kept just about at bay by enough drugs to knock a horse over, was making me so much queasier than usual – so Dietmar was having to be captain and crew for much of the time. Then we had a wave so fierce that it knocked the pulpit (the railing right at the bow of the boat) out of its stanchion bases, and at that point Dietmar had a sense of humour failure. Sleep-deprived and very grumpy, he decided we should turn and head for home, convinced that the only solution was to take Cesarina back to Germany, take her out of the water and buy a house and the puppy that we have been talking about for some time now. This was all just too much like hard work, too stressful, too knackering, no fun at all. This idea had pros and cons for me - the idea of a large and airy studio, where there is no risk of me getting oil paint on the cabinetry - is very attractive. Having said that, the idea of giving up this vagrant life on board with its constant flow of inspiration, feels just terribly sad to me.

 
It seemed however that Cesarina – and the Atlantic Ocean – had other ideas. No sooner had we turned the boat around than the sun came out and we were treated to some fabulous, textbook-perfect downwind sailing and a stunning pink sunset. It was heartbreaking. I sat in the cockpit, salty already, and cried fat tears at the beauty and the thought that I would perhaps never experience it again. For me, sailing the open oceans is the only place where I feel truly free and unfettered, unhampered, uninterrupted by the constant stream of daily (often pointless) noise. No mobile reception means a different set of responsibilities – spotting problems in advance and keeping the crew alive, producing good food regardless of the conditions, keeping a good watch and the thousand other little responsibilities of long-distance offshore sailing. Take me sailing or put me somewhere beautiful and quiet with no interruptions and let me paint or read – these are my happy places, no question about it. I'm not ready to give up this feeling of being out in the middle of nowhere, with just the birds and later the stars for company.

Dietmar and I sat in the cockpit and held hands tightly, not speaking a word to each other. I’m not sure I was the only one with leaking eyes.

Those Atlantic sunsets are something else…

Those Atlantic sunsets are something else…

 

The sun slipped prettily over the horizon, I took the watch and Dietmar went to bed for a while. When he woke, we were due south of Plymouth. We checked the weather and the charts again and Dietmar’s stance softened. We decided to sail to Torbay and have a rethink, so a nice easy reach north-east brought us safely in to drop our hook just outside Brixham harbour not long after sunrise. We all slept, emotionally and physically exhausted.

 

From Torbay, we plotted an easy sail around the corner to Salcombe – my idea as I’d been hearing about how wonderful Salcombe is for many years now and I’d been so keen to visit. It’s not so easy to get into though – it looks like a river valley but it has a tricky, suddenly shallow sand bar at the entrance which would cheerfully scupper you if you get your tide height calculations wrong! Once you’re over that tricky little hazard, then there’s the small matter of where to tie up for the night.


We did our sums, got them right and motored safely into the ria and up the valley, through beautiful scenery and past stunningly located houses that must have  the most incredible views. The further we got, the more boats were there. 5, 10, 30, 50,… My eyes widened as I realized that some of the mooring balls already had four yachts on, all over 40’ long!

Seen from FranJo’s drone…

Seen from FranJo’s drone…

I’d read that the mooring options were all expensive and, in any case, choosing the week that all the private schools broke up for the summer holidays was perhaps not the best timing to arrive and hope for a mooring buoy. Trying not to panic and really hoping that I hadn’t talked Dietmar into a very bad decision, I reminded myself – and him – that (as I’d read) an easy, peaceful and much cheaper option (although you still have to pay) is to anchor up a side channel they call The Bag. I’d looked at the charts, checked the depths and although there didn’t appear to be that much room up there, the pilot books assured me that there was always space. This looked like an excellent plan to me, so when the uniformed harbourmaster approached us in his smart little dinghy with an offer of a mooring ball, I thanked him and told him our plans. He raised eyebrows, politely, and wished us luck.

As we motored, in fading light, up what was increasingly an exceeding shallow channel, with so many more boats than I'd expected, the wind seemed to pick up. The tide was by now running out really hard. Dietmar started to get very monosyllabic with me, which is a sure fire sign that he is getting stressed. Frankly, this was no surprise. The thing is, what I hadn’t taken into consideration was that all the kindly composers of almanacs and channel pilot books (looking at you, Tom Cunliffe ;) ) don’t generally sail unwieldy classic 55’ yachts that weigh 25 tonnes and draw 9 feet - they're far too sensible for such nonsense! Also, I’m sure there might well be more room if you’re not in the middle of a pandemic where every boat owner who usually sails to the Med has decided on a ‘staycation’…

Bugger.

Note to self and all larger boat sailors – don’t even think about trying to anchor up The Bag in Salcombe unless you have the place entirely to yourselves. The holding is sticky mud that doesn’t really hold the anchor unless you have a lot of chain out. For us, putting out a lot of chain would have meant hoping that there was no wind direction shift, otherwise we would have swung round and collected half a dozen little yachts on the way! The Bag offers 4m of water in the middle of the channel at low tide and the channel is about 40 metres wide. Outside of the channel it shelves steeply and dries out. Not a good idea.

Anyway, to cut a long and very sweary story short, we dropped the anchor twice, and dragged the anchor twice while trying to set it. It was a total nightmare. This was never going to work. Now what?!

 

There was nothing for it - I was going to have to eat humble pie and call the harbourmaster back and ask him, apologetically, for that mooring ball. He was perfectly kind and didn't even laugh at me, but my heart sank when he said that he had just allocated that mooring ball to someone else.  I should standby.

Oh God. I had visions of imminent divorce and us having to leave Salcombe entirely as I knew there was not a cat’s chance in hell that we would want to raft up to any other boats – we are too heavy to raft alongside anything small, but we sit too low in the water to raft up to anything our own size and get tangled up in lifelines and back stays and Lord knows what. Nightmare. Bugger, bugger, bugger. It was getting dark and I was about to be very unpopular on board as there was no obvious anchorage around except back in Torbay.

When the VHF crackled back into life in my sweaty paws with the news that they had a mooring ball for us, I did a little dance. We threaded our way back downstream to where I was told the buoy was located and I expected to see a circular buoy about 60cm in diameter and 40cm or so high, with a smaller ball attached on a longish bit of rope that you can hook and pull aboard to make fast. And then I saw the bloody great big thing, like a massive orange oil barrel, designed for the fishing trawlers that operate out of Salcombe and other mighty vessels, my heart sank again. How the hell was I meant to catch that?! Dietmar was on the helm and he had sent me forward. After a quick and fairly fiery exchange between me and the captain, I took the helm (which is how we always tie up to mooring balls) and he went forward to help FranJo (who had never done this before). And thank goodness, a very kindly neighbour spotted that they were about to have a problem because this buoy has a large hoop on top but no easy thing to attach a rope to or haul aboard like we would usually see. I manoeuvred us gently into position and Dietmar tied us up with the help of our kindly neighbour in his dinghy. Thank goodness. Engine off, log book complete, job done. Crew hug, and breathe…


Salcombe is indeed beautiful and our mooring buoy was actually perfect – big and safe, with a beautiful view – close enough to the town to make getting in and out easy, but far enough away to not be deafened by the cream of Chelsea and Westminster’s youth partying boisterously late into the night. It is the birthplace of many a chic nautical brand and home to a very old friend of mine with whom I had lost contact until she popped by in her dinghy, suspecting that the German classic yacht may well hold her old friend on board. It was lovely to catch up. It's also - for the record - not that expensive to pick up a mooring ball. We paid £32 per night, which is peanuts compared to marina fees for our boat.

There’s wonderful ice cream, thanks to the Salcombe Dairy; a smattering of chic little shops and some very high quality art galleries; an unusually high proportion of extremely beautiful people; great walks and some incredible views. I painted en plein air twice and sold both paintings the same day – the new owners even took delivery while they were still wet! It was an extraordinary few days. If I’m completely honest, I would happily have stayed longer, but the Azores were beckoning and so we prepared again for departure.

This time the weather forecast was wonderful and all looked dreamy for at least the first few days of our passage. We set off early, filled up with diesel, and bade Salcombe a regretful au revoir. Onward – to the open ocean! Nowhere near as much wind this time so we sailed as much as we could but the wind faded and on went the engine. We were graced with pod after pod of dolphins, soaring seabirds and plenty of sunshine. We began to remember why we got hooked on sailing in the first place- this dreadful and dreadfully expensive drug that wrecks marriages and drives sane men crazy. It's like nothing else in the world. Onward, further, west-south-west, to the Atlantic, to where the water is a deep, deep blue and you sail through the stars at night...



Happy Customers :D

Happy Customers :D

And then – 12 hours out and about due south of The Lizard peninsula- we had a problem. Our batteries should have been charging while the engine was running, but they weren't. Quite the opposite in fact - they were emptying. Bugger. Some poking about in the engine compartment confirmed our fears – the alternator had stopped working. This meant that, in time, we would have no electricity on board. Now, technically, we do also have a generator which could also charge the batteries, but we don’t like to go sailing without a plan B and we had 1350 miles ahead of us. If the generator also stopped working (and it can be a bit temperamental sometimes), we would eventually run out of power completely. This would mean no autopilot, no fridge, no water pump, no bilge pumps, no lights, no radar, no chart plotter, no depth gauge, no radio… Not an option we were prepared to consider. I know what you’re thinking – what, no solar panels? No wind turbine? Nope – and nowhere to put either, unfortunately... We’ve just replaced our old batteries with state of the art lithium but even they need to be charged from time to time.

So – we turned around – again.

For goodness’ sake. We were slightly starting to feel like Blighty didn’t want to let us go. The disappointment on board made everything taste slightly wrong. We were all pretty fed up, to put it mildly, and more than a little stressed that we needed to make it back to a marina to plug in our brand new batteries before they discharged themselves beyond the point of rescue.

This time, we made for the massive naval harbour of Plymouth, and sailed into Mayflower Marina not long after sunrise the following day. What a fantastic marina! We were given a very warm welcome and the staff there couldn't have been more helpful. Dietmar ordered and received a new alternator and other replacement parts, and fitted a new cooling fan to the engine compartment. Time will tell whether he has solved the problem...

While we were waiting for parts and weather, we did a little exploring. The waters around Plymouth are beautiful – the city centre less so, to be honest. The old part on the waterfront – the Barbican all the way to the Hoe and the King William Yard, for example - is full of history and very charming. The inner port is still used by a large number of working fishing boats and the quaysides are full of interesting things going on. The old Admiralty buildings are imposing and there are historical landmarks around every corner. The ghosts of ancient mariners stalk the alleyways. It’s quite magical.

Sadly, this postage stamp of historical beauty is surrounded on all sides by some dreadful Brutalist architecture and some even less attractive 1960s and '70s lumpish concrete monstrosities. It’s hideous and dreadfully uninspiring. The city centre seemed windy, grey, deeply depressed, populated predominantly by people with even less hope than they have teeth, and with an apparently large number of people who appeared to be street homeless. There was clear evidence of much drug and alcohol abuse, almost everywhere you looked. The industries that grew the town have shrunk, died or moved away and I'm sure Covid hasn't helped. I have never seen so many pound shops and discount stores in one place. It was really sad.

Not so keen to spend too much time in the town, we ventured in the other direction. Near to our marina, there is a ferry that took us across to Cremyll – out of Devon and into the Kingdom of Cornwall, to the land of Rosamunde Pilcher films – the most incredibly famous and successful British author that no Brit has ever heard of. Seriously. Rosamunde Pilcher writes period dramas that sound like Fielding/Austen/Brontë pastiches and are unbelievably popular in Germany. She’s ridiculously successful and yet no one in England seems to have ever heard of her, including me until I met Dietmar.

Anyway, from the landing stage at Cremyll, it’s a bracing walk uphill to Mount Edgcumbe, an elegant stately home dating to the reign of Henry VIII, with commanding views back across the city. From here we picked up the coastal path and  followed  it for a few miles, along paths carpeted with pine needles and smelling of the Côte d’Azur, with glimpses of precipitous cliffs and shimmering turquoise waters below. We followed a trail through the long grass and bracken up to a folly – a half tower built to look like a medieval ruin, one of the few buildings in Plymouth left untouched by German bombs in WWII, despite its appearance. We walked for hoursand returned with tired legs, the sunshine in our eyes and the smell of lush greenery in our nostrils. It was glorious.

As if however in sympathy with the strange melancholy of Plymouth, I fell ill the next day – first with an unshiftable headache which went on for days, then dreadful stomach ache. As I seemed to be recovering, Dietmar set a date for our next departure with the next weather window.

And on the morning of our departure, I was so ill I could barely get out of bed.

FranJo flew home. I called a doctor, went for a Covid test (it was negative) and spent a pretty miserable week on board, slowly getting better. Dietmar and I cooked up a new plan: we decided that actually, maybe, we should just try moving the boat south and wait until we had a better weather window and a shorter journey. Dietmar and I had sailed double-handed across the entire Pacific ocean, so a quick trip to France maybe, then perhaps Spain before crossing to the Azores shouldn’t really be a problem.

And so we left Plymouth one July Sunday morning and made it across to La France in 26 hours, without any problems whatsoever, to Brest in Brittany.

By the way, Brest looks not dissimilar to Plymouth, with the difference that the town was bombed not by the Germans but first, tactically, by the British, and then apparently indiscriminately by the Americans who almost razed it to the ground. 75% of the town was obliterated. The decision was taken to redesign the city completely and, with so much grey granite used in the rebuild, I have a strong suspicion that the architect may have been related - at least in spirit- to whomever redesigned Plymouth...

De toute façon, by the time I had been there for a couple of days, I was feeling more or less back to my usual bouncy self, and there we were, waiting for yet another weather window, ready to head across Biscay. In the meantime, Dietmar was enjoying the amazing bread from the bakery and the great running routes - and I enjoyed chipping the rust off my French. I really wanted to paint but the wind and almost endless rain there put the brakes on any plans to do that. It would have to wait until we were somewhere a little less ... Breton.

Next stop: Northern Spain. Stay tuned… : )

Art and Life in a Dutch Lockdown, Episode 1: Registering as a sex worker.

What do you think of when you think of Holland? Clogs, cheese, canals? Windmills Maybe the old Dutch Masters and dark, atmospheric paintings like The Night Watch in the Rijksmuseum? Endless fields of bright tulips and people smoking dope on every corner? Prostitutes working the Amsterdam Red Light district?

It’s all these things. It’s also so much more. I’ve learned a few things about the Dutch and the Netherlands (as they prefer their country to be called) – and about myself - while living there for the last 6 months. Where should I start…?

 

Let’s start with the sex worker story.

Blue Nude IV, 80cm x 60cm, acrylic and oil on canvas, Emma Henke 2001

Blue Nude IV, 80cm x 60cm, acrylic and oil on canvas, Emma Henke 2001

Back in the early 2000s, I painted a series of nudes from life – the ‘Blue Nudes’ – and haven’t painted bodies since, despite the success of that series.

When I moved to Amsterdam in September 2020, something about the combination of the apparently liberal vibe of the Netherlands, the directness of Dutch women, an evening involving burlesque dancers with Margo van der Linde, the beautiful curviness of my friend and studio host Roos van Monsjou, the strange-to-me atmosphere of the De Wallen Red Light district that made me want to consider and celebrate the female form.

I started to think about how I might do this.

One late night, chatting with Dietmar and Margo over a bottle or two of wine, I had an idea. There were restrictions in place in the Netherlands and the Red Light district was already closed. I wondered how the workers were earning any money. The windows were empty, the curtains drawn. I decided that what I really wanted to do was to paint a series of working women, with all the interesting conversations that that would bring up. My bright idea was to hire a room in the Red Light district, and to paint from life, for all to watch. I opened Pandora’s Box…

 

 Prostitution has an interesting history in the Netherlands, particularly in Amsterdam. It was first recorded in the fifteenth century, in Rotterdam and Amsterdam, as they expanded rapidly as seafaring ports. Over the years, it has been tolerated, reviled, glamourised, prohibited and was finally fully legalized, unionized and taxed in 2000. It is now a regulated industry. This was in response to many years of a strong feminist message that women choose to work in this industry and should be empowered as such, not seen as victims but given the full protection of the law, like other career choices. It remains controversial, unsurprisingly. The moral and sociological questions raised are myriad and nothing if not provocative.

 

I made some enquiries about how I could set this project up. I also made some extremely naïve assumptions.

I presumed that finding working women to use as life models would not be so hard – if I were to pay them the same rates that they would earn as sex workers, surely they would rather lie comfortably on a couch and be painted rather than perform services? I airily dismissed any lingering doubts about exploitation, figuring that I would be supporting the local economy. First of all though, I needed to rent a room. How difficult could this be? I was already planning the social media and perhaps a press release or two…

 

Margo told me a cautionary tale about how she had started a performance art piece in a street where prostitutes were also working. She hung a red light in the window of a completely normal house and, fully dressed, proceeded to perform normal everyday tasks such as the ironing in the window.

The prostitutes working in the same street called the police and threatened to take action themselves if she did not immediately stop. She was distracting their customers, and trade was hard enough as it was without some artist messing about nearby. The police shut Margo’s performance down and threatened prosecution for using a red light without a licence to do so. Hmmm. I figured that I would definitely have to use a registered premises – so I went looking for one.

Photo by Gio Mikava on Unsplash

Photo by Gio Mikava on Unsplash

The last time I was in the city of Amsterdam, in the summer of 2019, the Red Light district was heaving the way you probably remember it or have seen on YouTube – 95% men, 95% tourists, glitzy and seedy in equal quantities. Not everyone’s cup of tea. Fascinating and gruesome. Prostitution in the Netherlands consists of roughly 90% working women and 5% men. If the light is purple, rather than red, you are looking at one of the other 5% who are transvestite or transgender.

As a woman in De Wallen, you can wander through almost completely unseen. The men are not interested in you unless you are behind a window or dressed provocatively and scantily, and neither are the working girls.

Often with make up like war paint, sometimes dazzlingly beautiful, the women stand or sit in their windows, clad to catch a cold in lace or leather or less, variously looking bored or unnervingly vulnerable, often world-weary. Some linger at their doorway, making an effort to make contact with the rubber-neckers passing by. Young men are urged on by their drunken stag party mates. Older men in raincoats lurk and stare. Transactions are negotiated and men are waved through the door. The curtain is pulled.

The women generally avoided eye contact with me and on the occasion when I made it, it was frankly uncomfortable. I am not sure whether it was just uncomfortable for me – I didn’t get the chance to ask. You are bustled through, caught in the wave of marijuana smoke and the smell of summer sweat on a thousand enervated men, aware of the very real risk of pickpockets. All of life is here. The energy is palpable. It’s not a place for women who aren’t for sale in that way.

In November 2020 however, the streets of De Wallen were lonely and empty, litter blowing down the rain-soaked alleyways, all lights off despite the long nights and short days. The curtains were all drawn. Commuters scurried through, collars up against the cold wind, heads bowed.

The sex shops were still open, if you wanted to brave passing through the slightly sticky rubber curtains like the entrance to a wholesale butcher. I didn’t.

 

“Te Huur” (nothing to do with whores – it means ‘For Rent’) notices were in many windows on the edges of the District and along the canal banks. I followed the link to a couple of the advertised websites when I was back on board Cesarina. What I found came as a massive surprise.

 

First of all, in order to hire a Red Light window, you have to be a registered sex worker. You can’t hire a room otherwise, and you can’t turn on a red light otherwise. So – I thought – I obviously need to register temporarily as a sex worker.

 

My husband, strangely enough, usually 100% supportive, began to have what I can best describe as misgivings at this point. “Darling, really, you want to register as a sex worker? Are you crazy?”

 

It turns out that registering as a sex worker is not as easy as you might think. Thankfully, there is no practical exam like when you qualify as an electrician or a plumber, but you still need to register. I wasn’t sure that my parents would be all that impressed, but this would be in the name of art…

I found - to my surprise - a number of very helpful online resources about how to set yourself up as a sex worker. There are some friendly resources such as https://www.pg292.nl and even pages on the Dutch government website explaining exactly how to register as a sex worker, but nonetheless it is not as simple as just setting yourself up with a red light in a window, a g-string and a box of condoms… not that that was what I had in mind, but you get my gist…

 Photo by Klemens Köpfle on Unsplash

First of all, I would need to register with the KvK (the Dutch Chamber of Commerce) – they recommend that you use the ‘Personal Services’ code as your profession because despite the apparently liberal attitude of the Netherlands, there is apparently still a lot of prejudice against prostitutes.

In order to operate legally as a sex worker, I would have to fill out an online registration form before registering with the KvK. I would need a private address and also a business address. As working as a sex worker from home is illegal in most towns in the Netherlands, I couldn’t give my studio address as my business address (even if Roos were fine with that, which I doubt!) and I didn’t think that a boat would count as a private address. I would also need a Citizen Service Number – a what? – and a trade name.

After I’d completed the form, I would be able to go online to schedule an appointment to complete the registration. I would need to attend the Chamber of Commerce, bringing with me my Dutch ID-Card (which I don’t have) and pay the 50 Euro registration fee. They would then pass on my details to the Dutch Tax and Customs Administration. Then I’d have to wait 2 weeks to get my VAT number through the post.

To protect my privacy, so that the whole world would not know that I had registered as a prostitute, I was advised to register a trade name - an alias – (this is where those Facebook memes helping you choose your porn star name from a combination of your favourite pet & some other random word to create your own moniker would finally come in handy: mine’s “Tinkerbell Candyknockers,” in case you’re wondering) and then go to the bank to get an account in this name. So people would be able to pay for my services by bank transfer. How extremely above board…

I was also advised that I would have to pay income tax and VAT on my turnover, keep careful business records and retain them for at least 7 years.

Photo by LOGAN WEAVER on Unsplash

 And all this, to paint a series of female nudes…

The Dutch have a thing for rules and regulations – way more than I ever knew or suspected.

 

Also –Red Light windows are significantly more expensive than I had expected, starting at around 150 Euros for a day rate, and over 200 for the night hours starting at 6pm. At 50 Euros for a fuck, that’s a lot of clients you’d have to service before you could pay the rent. As for painting – by the time I had paid for a sitter, I’d have to paint really fast in order to make any money whatsoever.

When I first started to research this, I really thought the whole thing would be an interesting and probably quite fun art project. By the end of it, I had disappeared down a whole rabbit hole of moral and ethical questions and legislation for which I was entirely unprepared.

It prompted me to reconsider so many things – my own relationship with sex and that of my friends and acquaintances; the ticklish issue of paying for sex; to what degree any relationship that is not of equal power is essentially a similar transaction. This was the just the tip of the iceberg of fundamental moral questions that I have been pondering since. It’s been… enlightening.

I also discovered that the Netherlands is significantly more regulated than you might think. Everyone thinks the Dutch are super laid back, super liberal, that everything is allowed here. It sort of is – but only within the tramlines. Marijuana, for example, contrary to popular belief, is in fact illegal. You may smoke in your own home and in the regulated Cafés, but not on the street or in public areas (the Dutch seem to ignore this in Amsterdam but you rarely smell weed outside of the city). You may not ride your bicycle either stoned or drunk, which is why late at night you see so many people wheeling their bicycles – something I didn’t understand at all to begin with. Speeding is heavily punishable by fines and/or by licence confiscation. I still have my licence, but I am several hundred Euros poorer from my first fortnight in the Netherlands. The speed cameras reinforce a zero tolerance policy and the fines are eye-watering, even if you were only 4km/h (2.5mph) over the limit. And so on…

 

My putative plans were completely and finally scuppered (honestly, probably just as well) by a much harsher lockdown and a curfew, with a ban on having more than one visitor at a time in your dwelling and with travel discouraged. And then we moved out of the city and got frozen in in the harbour in Medemblik in the north of the Netherlands, but that’s another story entirely. I couldn’t have completed the necessary paperwork to even start the project and the can of worms I was opening was pretty big, so it has landed on the pile of interesting but discarded ideas – for now, at least.

Dutchscape .jpg

I still want to paint some naked bodies, but I haven’t started yet.

Instead, I have painted a small series of ‘Dutchscapes’ – sea and landscapes - in the meantime.

I’m going to launch the series on the first day we are out of quarantine – 5th May 2021.  

As for the naked women? One day.

I’ll keep you posted.

 

Bibliography:

Outshoorn, J. Policy Change in Prostitution in the Netherlands: from Legalization to Strict Control. Sex Res Soc Policy 9, 233–243 (2012). https://doi.org/10.1007/s13178-012-0088-z

 

Weitzer, R. (2012). Legalizing prostitution. From illicit vice to lawful business. New York: New York University Press. https://books.google.co.uk/books?id=ercUCgAAQBAJ&lpg=PP9&ots=Vq6PpVCOdd&lr&pg=PP9#v=onepage&q&f=false

Maiden Light - Dare to dream

Maiden Light – Dare to dream

 

‘Everyone has dreams; few of us realise half of them. Tracy had a dream so vast it was beyond all but a few to appreciate what it was, what it could be. The force that made the dream come true was Tracy; it was her obsession and she has managed over the past four years to forge it into a world-scale production involving dozens of people in hundreds of roles, whilst capturing the hearts of hundreds of thousands more.

And, while she never intended that Maiden would self-consciously wave the flag for women that, inevitably, has happened. More importantly, though, she has shown that with faith, with honour and with courage, anything is possible.’ [1]

Tracy Edwards wanted to be part of the crew in a Whitbread Round the World Race yacht in 1989 but it was made crystal clear to her that women only sailed in this race as cooks. She decided that she would, in that case, have to get her own boat and have an all-female crew. The entire sailing establishment took this to be a joke to begin with and did their best to laugh her out of town. In the end, not only did she come good on her promise but she gave the men a serious run for their money and only just missed winning her class. She received many accolades, including a MBE, for her extraordinary achievement. It’s an amazing story - and it’s real.

This is what it is – first, you have to have a dream. But to have a dream, first you have to dare to dream. You have to believe that it could – possibly – be possible. And then you have to start to have a little inkling of an idea that it might be possible for *you* and only then can you start to try to work out how you are going to get there.

These days it’s much easier in general for women to believe that they can achieve more. At least, you would think so. But what if you come from an area where teenage pregnancy is high and life on benefits seems to be a perfectly reasonable career choice, and one taken by your mother and your sisters before you? What if you don’t know any girls personally who stayed in school to the end, never mind went to university? What if the cultural expectations – spoken or unspoken – are that you will get married and produce heirs and that will literally be your entire life, with no option to deviate? What if the people you see on the television and on social media seem to have lives so galactically different to your own that you gave up dreaming at about the same time that you realized that no one ever seems to get out of your town? What then?

I was really lucky. I wasn’t born with a silver spoon in my mouth – far from it -  but I was born white, in England, into a seriously hard-working family who had had wealth which the generation before had (literally) gambled entirely away. It’s a long and pretty tragic tale that I won’t bore you with. My parents were hell-bent on making sure that our lives would be better than their own.

They strived – worked every single day (literally) – to make sure that my sister and I got the best education that they could source for us. We were also lucky, as young women, to have some extraordinary role models and we were absolutely not brought up with any sense of girls not being exactly as good as men – if not better – when they put their minds to it.

Me, age about 6. My aunt Debbie (R) was another fierce role model - smart and beautiful.

Me, age about 6. My aunt Debbie (R) was another fierce role model - smart and beautiful.

My mum worked just as hard – if not more so, to be honest – as my dad. She also somehow managed to be an attentive mother to us two girls and always worked really hard – often roping us in to help in some way. She opened a care home (definitely not with my father although I’m not sure to what degree it was against my father’s wishes) which ran for a while alongside the pub that they owned and we lived in – before it became quickly more profitable than the pub. She would work 12 hour shifts in the care home and then come home to the pub, have a quick wash and get changed, put some lippy on and go and serve behind the bar alongside my father. At various stages of my childhood, my mum was also taking in washing from old people, running a meals-on-wheels service, selling a variety of things to make extra money. She made saddle pads for horses at one point – I remember them selling very well through an advertisement she had placed in the Horse and Hound magazine. Anything to make money (within reason).  My sister and I were both envious of our friends’ stay-at-home mothers who were there to make jam sandwiches when they got home from school. What we didn’t really twig at the time was that we had a mother who was – very quietly – building a little empire. She was making her dreams come true. No one had told her that she couldn’t do it because she was a woman – no one that she had taken seriously, after all. It definitely rubbed off on us although it didn’t always feel like a blessing at the time.

My sister and I didn’t have much sense of our gender being a hindrance to us. We went to good schools and we learned about some strong women – heroines floated out of books: Amelia Earhart; Marie Curie; Mary Seacole; Boudicca, Emmeline Pankhurst, Elizabeth Fry, Florence Nightingale, Jeanne d’Arc. The ball-breakers of Dallas and Dynasty were thankfully offset by women like Tracy Edwards were making the headlines and winning awards. Margaret Thatcher was our Prime Minister. Strong women forging careers were nonetheless – in most communities - very much the exception and not the norm. I had a sharp, elegant grandmother who absolutely knew her own mind and who only praised me for my intelligence. As far as she was concerned, that – and a nicely turned ankle, would get a girl a very long way. I worked hard.

Me (aged about 18) with my mother, Bobbie

Me (aged about 18) with my mother, Bobbie

Honestly, I hated school but I was blessed with endless curiosity and I loved reading. That combination was always respected in our household and homework time was fiercely protected. I had little self-belief, but I knew that women had done the things I was doing before me. I knew women who had done these things before me. I had role-models. I could stand on the shoulders of giants.

My achievements in life are tiny in comparison to Tracy Edwards. I have never broken glass ceilings like she has. I have sailed across oceans but that is where the comparison begins and ends. She is amazing and I have been in awe for over 30 years.

When I realized that she had launched the Maiden Factor and had set about raising funds to support girls in education, what I had to do was a complete no-brainer for me.

I want to help girls dream of better things. I want girls to aspire to achieve, and not just to have bottoms like Kim Kardashian. Positive body image is important, but what goes on between your ears is much more important than how you look. I want girls everywhere to treasure their education and understand just how powerful it can be. I want girls to be curious, to ask questions, to challenge the established norms in their world. I want girls to believe that they can grow up to be Tracy Edwards, or even more extraordinary.

Me at the helm of SV Cesarina, our S&S Swan 55, somewhere off the coast of Panama before our Pacific crossing in 2017

Me at the helm of SV Cesarina, our S&S Swan 55, somewhere off the coast of Panama before our Pacific crossing in 2017

The Maiden Light Collection

I already had a collection of sunrise paintings in my head back in the summer– it is such a powerful symbol of new beginnings and it felt so appropriate for me, launching myself into my brand new world when I left my day job to paint full time. I too had dared to dream, had worked really hard, had decided to do something out of the ordinary…

I had a brainwave though in early September – if I could pour my own light and courage and faith into these paintings, why not see if I could also weave the strength of other women into them as well? Sailors are among the bravest of all people (alongside mountain climbers, healthcare workers, pilots, steeplejacks, rig divers…) – full of blind faith and respect for Mother Nature.

Going to sea is an act of faith and courage, every time. You trust that the seas will be kind to you, particularly when you are crossing an ocean. You can choose whether or not to sail out into rough weather when you are still in port, but when land is more than 1000 miles in any direction, you have to hope that your boat will be able to withstand whatever Mother Nature and Poseidon choose to throw at it. Sometimes, it’s a lot. It’s like Life. And sometimes it is horrible, especially in the dark.

I’ve held on tight through some really tough night passages, where the waves seemed to grow ever bigger and the wind howled through the rigging. In the dark, when all you can see is the spray lit by your navigation lights and the occasional wall of water crashing over the deck, and your ears are full of whistling and clanging and creaking, you pray to gods previously unrecognized for your safe passage. So far, those prayers have all been answered. And often, the answer seems to come in the form of the sun beginning to rise – a soft dawn light threading into the darkness, proving to you that you are still afloat, still alive, still moving.

I reached out to my fellow female sailors and they answered me with their tales and their beautiful images of sunrises. The Maiden Light collection has turned into a collective project with many contributors – including Tracy Edwards herself. I feel very blessed. Each of my paintings has captured the fresh hope of a new day after a challenging period of darkness. They are literally – as well as metaphorically – bringing the sunshine. Each one is a talisman for a new beginning.

I can’t wait to share this all with you.

‘Galapagos sunrise’ - 40cm x 40cm, oil on stretched canvas

‘Galapagos sunrise’ - 40cm x 40cm, oil on stretched canvas

On Thursday 19th November 2020, I launch this collection of paintings. Some are very small, some are a little larger. Most are in oil but there are some small watercolours too. They are all a good size to fit on the walls of wherever you live, however big your dwelling is. 75% of the sale price of each painting will go direct to the Maiden Factor. I am donating all my time in this project to support this charity and just covering my costs. I am supporting a team of women, sailing an iconic boat (Maiden herself) around the world again, bringing education and a message of hope and possibility to young women and children everywhere. The magic of Maiden sails on. Tracy wrote to me that Maiden (the boat) has that effect on people, but I don’t think it is the boat– I think it is the message that you can achieve whatever you set your mind to, but first of all you have to dream that it is possible.

I really hope that you will help me to support this amazing charity. Even if you do not wish to purchase a painting yourself, you could please help me by forwarding the details of this collection to people you know who might. Every little tiny effort will make a difference.

With faith, with honour and with courage, anything is possible…

 

Very many thanks in advance for all your support, and thank you for reading. Let me know if you have any questions…

[1] Excerpt from Chapter 1 of Maiden by Tracy Edwards & Tim Madge, 1990

New life chapter begins...

Gosh, I have so much to tell you. Where do I even start?

So - on 5th September 2020, I went to work at my day job for the last time. The very next morning, I drove onto a ferry and ran away to my husband to start a new life on board our boat. In Amsterdam. As you do…

My husband was extremely patient with me as I unloaded the car - it’s no exaggeration to say that 70% of the contents were art materials. If you follow me on Instagram you may remember me posting about having to give loads of things away and leave lots behind in storage because of the available space on board. Who needs clothes, right? …

Anyway - 2 1/2 weeks later and I am safely ensconced on board, with a little home found for all of my bits - the only exception being the sewing machine which is currently nestled up against the guest loo. I am not sure whether that is going to work terribly well as a long term home for it but we shall see. Although Cesarina is quite a large yacht, she has surprisingly little storage space on board by the time you’ve stowed sails and tools and charts and electronic equipment necessary for sailing, and motors and generators and all the other bits and bobs that a classic sailing yacht requires. I have 1 drawer, 1 small cupboard, makeshift hanging space for 2 dresses and that’s about it.

Thankfully - my friend Roos (pronounced Rose) has come to my rescue and let me use a beautiful airy room at the top of her house which is about 30 minutes by car away from the boat which is currently in Amsterdam. I get to paint with a view across some beautiful water meadows, towards the Vecht river. It’s just the most fantastic light.

I have my work cut out between now and Christmas. I have a 6 painting commission to complete, but - in true Emma style - I wanted to stretch myself, so I have also:

  • launched a hashtag with some painting buddies and an October challenge - #30DaysofWonderfulArt - if you create any kind of art work at all, we would love you to come and join in. I’ve posted the rules here: https://www.instagram.com/p/CFY5MaOl4fd/

  • committed to painting 48 Christmas baubles for sale!

  • I have a secret project too… I’ll tell you more later.

I seriously have a LOT to do.

But then - Rome was not built in a day, and you don’t get to where you want to be without some good old-fashioned graft, so I’m ready for anything!

By the way - the Limited Edition prints of Shoal 1: Into the Deep have all but sold out. There is only ONE left! I’ve had some fabulous feedback from people whose prints have arrived. The one sent to Russia has not yet arrived, but those sent to the USA have, which is awesome! I’m going to organise the shipping differently the next time I do a print run - I have a better idea of how this could work better as there has been quite a lot of delay and although everyone has been amazingly patient, this is not how it was meant to work. So - I am sorry if you had to sit on your hands for a little bit. It has been a massive learning curve for me but I know how to do it better next time.

I also have one more piece of news, but I’m going to share it later in the week as I still have to run the details of the launch past a couple of people. Watch this space!

Stay safe everyone. And thank you.

Em

x

Our beautiful, high-maintenance mistress - ‘Cesarina’

Our beautiful, high-maintenance mistress - ‘Cesarina’

Memories of Pacific sailing adventures...

Excerpt from my diary, February 2017.

“And then, every so often, a person comes into your life; makes easy, confident way against the current and pushes the clouds that you had barely noticed were there apart with his big, strong, kind hands and lets the sunlight flood in. And you realise that your life is being held, rescued, breathless in front of you - a bedraggled puppy, fur matted, untouched and unloved. And all you want, desperately, is to be held close.”

My (now) husband. Can you believe that we set sail together, double-handed, across the Pacific less than 2 months after meeting each other for the first time and having never sailed together? Cesarina is no dinghy either - at 55’ long, she is nearly 30 tonnes of classic, unmodified, unrelenting and super-exposed sailing. I fell in love with her before I even met the man who owned her…

Anyway, I’ll share more in due course. In the meantime, I just wanted to say that I’m posting pictures from the Postcards from the Tropics collection slowly during July and I will be offering prints of these paintings too in due course.

I hope you like them!

Emma x

Exhibition news!

It’s been a funny old time to prepare for an exhibition of work. I had all sorts of putative plans about where I might exhibit, but of course then COVID-19 came along and made a mess of those completely.

Painting has probably saved my soul in lockdown. You’re probably aware that I also have a full-time day job as a keyworker so there was no downtime at all for me. In fact, the last few months will go down as the most stressful and yet life-affirming of my entire life.

The fruits of my artistic labours will be on show to share from 5pm on Sunday June 14th. I’m opening the doors for a Private View from 5pm to 7pm and then all work will be on general release on my website from that point forward.

I would absolutely love it if you could join us. Please send me an email or subscribe using the link below and I will send you a Zoom invitation.

See you there!