Graeme Webb Art

There is something very accessible about Thomas Benjamin’s work. Bright colour, scattered marks, fragments of painted paper, collage, stars, circles and unexpected shapes jostle together across the surface of his creations. At first the paintings and collages can appear spontaneous, even chaotic, but spend longer with them and a sense of purpose and structure begins to emerge.

Recently I spent a pleasant afternoon visiting Annette Johnson’s studio in Blackheath which was part of the 2026 Greenwich Open Studios Trail. Annette started painting whilst living in Boston, America and has since studied at the Sir John Cass College of Art. She has also studied etching at Morley College.

Stand development is a wonderfully simple way of processing black and white film, and Rollei R09 One Shot is particularly well suited to it. Based on the classic Rodinal formula, R09 works effectively at very high dilutions and has excellent keeping properties. This combination was a favourite of mine used back in the 1960's especially when printed on Agfa grade 5 bromide paper, I still have a few prints left from that period.

I have been out of the analogue photography scene for many years. My last foray was publishing a few limited edition books and prints with Trevor Crone focusing on The Impossible Project and Polaroid instant film using original 1970's Polaroid cameras. Part 1 discusses the 35mm Holga camera, part 2 stand development and part 3 the 120 roll film version of the Holga.As an after thought I may round this series off with a part 4 the Holga 120 PC pinhole camer.

This follows on from my recent other pieces about CWM processes. I have gone through these processes several times over the past two years and I dont see any structual problems with the paintings I have produced using these techniques so far. I would suggest that processes should be tested using your own materials. One of the great advantages of working with CWM and oil paint is that the final layers can sit over a textured acrylic underpainting. Acrylic dries quickly, accepts a wide variety of mixed media, and provides an ideal foundation for the slower more relaxed process of painting with oils and cold wax. 

Few local art organisations embody the spirit of community and artistic practice quite like the Blackheath Art Society. Founded in 1947 in the years following the Second World War, the Society has grown from a small collective of local artists into one of south east London’s most respected exhibiting organisations. 

Making your own oil paint is a process that creates a direct connection between artist and material. Beyond controlling consistency and colour strength, each paint becomes something uniquely crafted rather than simply bought. Whether using finely milled pigments from Jackson’s Art Supplies or earth collected from the banks of the River Thames and other locations, handmade paint combines traditional craftsmanship with contemporary practice. Also see this Post.

In this memoir on her blog, Photographer and Artist Mish Aminoff recalls being six years old when her headmaster praised the seven-year-old girls as “the most beautiful girls in the world.” Feeling left out, young Misha changed her birth year in her school books so she could be seven too.

I have been researching how to add black marks, asemic writing, symbols etc over oil paint and coldwax. The following is what I have discovered so far, I have tested upto a point but need to let everything cure and dry out before I continue with the final finish. 

I have recently discovered that painting with cold wax and oil paint offers a uniquely contemplative creative experience. Unlike faster painting methods, the medium encourages a slower pace, inviting one to become fully immersed in the process rather than focusing solely on the finished result.

This post follows on from my earlier post. Some of these I have tried but Im still working through.One of the fun aspects of faux encaustic is creating your own “wax” i.e. tinted acrylic medium mixtures to use in layers. You can keep it simple (e.g. matte gel + a little yellow oxide paint), or craft more complex translucent colours. Here are a few recipes and formulas from experienced acrylic artists to achieve a convincing wax like effect:

In my ongoing exploration of chance aesthetics in creative practice I’ve been interested in how disruption and randomness can open up new directions, as it applies in this case to abstract painting. In my earlier article, Chance Aestheticsl in Art, (which I recommend reading before continuing with this one) I described chance as a way of interrupting intention,  a method of loosening control so that something unexpected could emerge. I’m not suggesting this process should be used continuously, just when there is a block in your work or you need to explore a new direction, form of composition, palette etc. The following is certainly not a definitive guide and I also need to work on it more to fully understand the implications for my work.