JO PENDERED
ARTWORKS
pORTRAITS
FIGURATIVE
Studies
MOTHERSON
Partial portrait of an older man with a beard and piercing blue eyes. Oil on canvas. Shadows cast across the man's naked torso. Light reflected in the shadows. Flesh tones. Strong shadows cast across the face of the man. Tongue and groove headboard. Zorn palette. Morning light.
Shafts of sunlight across pillows in a bedroom setting. Slatted bedhead with wooden trim. White bedlinen. Shadows and illumination. Creased fabric. Scene of intimacy. Shades of yellow ochre, blue and grey.
Bedroom scene. Oil on board. Bedside table with water jug and glass and reading lamp. Slatted bedhead with wood effect trim and brass handles. White bedlinen. Shadows across pillows. Morning light. Creased fabric. Shades of blue, grey and yellow ochre.
Story of Our Time 2024 Oil on Canvas 100x100cms €2200
A mixed media painting using oils and printed text which was attached to the canvas surface by both glue and by oil paint. The text is partially covered to obliterate parts of every word. It is a self-portrait of the artist and of the black and white photograph from her childhood. She is depicted from the side and she is holding a blue and white mug with a Pergola pattern from the china manufacturer Rorstrand. On her wrist is a brown Herbelin watch. She wears Birkenstocks and a little black dress. LBD. The artist is in profile. The children in the photo are looking straight ahead. They belong in the 1960s. The painting is of the 2020s. The palette is muted - greys, blacks, white, beige - the only flash of colour being the mug and some cadmium red sketch lines that form the structure of the painting.
This oil painting on canvas shows a hand gripping a twisted length of fabric. The fabric is the navy blue and white cotton of a chef's apron. It's texture is suggested by the fine white lines that follow the material's twisted contours. The tight grip of the hand suggests tension and strength.
This oil painting on canvas shows an empty studio with high windows and a mysterious French shutter blue door. There is a reflection on the floor that comes from the paned glass of the windows. The outer limits of the painting show an extension of the subject matter but thrown out of focus. The painted floor colour is grey.
A portrait painted in oil on canvas of an older man relaxing with his legs outstretched in front of him. He is sitting on a low leather armchair from John Lewis's. The smooth leather is a pale brown colour with many creases and folds which catch the pale blue light reflected from the window. A patterned red kilim rug from Morrocco is at his feet. The line of the rug dissects the painting into two halves - his feet cross the division. There are deep shadows underneath the vintage style lounging chair. Beneath the multicoloured ethnic floor covering are travertine floor tiles. The sky through the window is a pale blue which reflects light onto the contours and musculature of his body. The windows are the typical style of the French country farmhouse. The man is wearing only a pair of orange coloured fitted pants with a black band. The flesh tones of the man's body range from yellow ochre to pale blue to red. He is looking out of the canvas and he has an amused expression on his face. He is balding and has a slight paunch.
The lime green colour of the euphorbia plant with its distinctive shaped head is depicted here against a pale blue background. The shadows cast by the bell-shaped leaves and its fleshy stem are a mauve colour as a subtle contrast to the navy and emerald shaded tones of the bloom.
Japanese quince with its salmon pink petalled flowers and thick woody spiky stems . in this oil painting on wooden board the shadows created by the blooms cast mauve reflections on a pale blue background.
A flower painting in oil on board. An iris flower sits in a small glass yoghurt jar on a worn plank of painted wood. There are water droplets on the petals which are coloured white with tongue of bright yellow at its interior. The stems are green and fleshy. In the background the shadows cast by the iris flower are a pale mauve colour. There are reflections of light in the glass jar and the lines of the stems are distorted by the angles of the glass.
The waiter is standing in front of the door to the cafe where he works. His outstretched hand supports a tray at shoulder level on which there are coffee cups. He is wearing a black v-necked tshirt, khaki cut off jeans and white trainers. His hair is black and tied back in a pony tail. He has an undercut. The man has a black beard and moustache. He is looking to see whether he has any customers. In the cafe are shelves behind the zinc bar filled with glasses, bottles and optics. Reflected in the glass doors are the abstract shapes of the townscape that in which the bar is located,
This a picture of a woman's bare shoulder, neck, the side of her face and her hair. The woman's face is turned away from the centre of the canvas. You cannot see her features, only the line of her chin and her ear. She has streaks of grey in her hair. There are shadows of leaves and branches that form a pattern across the wall behind her and they also land upon her shoulder and neck. The shadows are a blue colour, changing shape and colour when they are projected onto her skin. The shadows echo the contours of her shoulder.
Oil paint on canvas board. This is a picture of a butter dish and a bunch of red grapes both set upon a wooden bread board. The grapes are reflecting the light around casting deep shadows. The butter dish is an antique and has imperfections on the surface. There is a crack in the wooden breadboard.
pORTRAITS
FIGURATIVE
Studies
MOTHERSON