As I write these post-equinoctial October studio notes, the night outside is star-studded yet moon-less. I'm choosing to share quiet dusks transformed by the rising of August and September moons over the Chesil Beach.
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MACKEREL MOON. beach materials and acrylic on unstretched canvas. 66x40cm.September 15th 2016.
West Bexington. The lights of Portland have begun to shine across the Chesil. Sea Kale crinkles in the foreground. The mackerel being caught by fishermen behind me as I work give the image its name.
The Moon of Deer Horns Dropping Off
Moon When the Chokeberries Are Ripe
Moon of the Popping Leaves
Drying Grass Moon*

How much one can tell about priorities, observations and seasonal activities of Native Americans by the choice of moon names in Dee Brown's 'Bury My Heart At Wounded Knee: An Indian History of the American West', Vintage, 1970*.  I've experienced similar insights into the rhythms of the seasons when looking at medieval depictions of labours of the months in  illuminated manuscripts like the Très riches heures du Duc de Berry, (1412-16) and the Norman font at Burnham Deepdale in Norfolk. 
I quite understand why full moons are named - even from my centrally heated and insulated life I'm 'called' outside to be shined upon by the waxing moon...and sleep little over a full moon. This August and September the moon has shone bright over the Chesil Beach and Charmouth. I've been naming the paintings by associations of different kinds -prompted by places and circumstances I've worked in. Just as people have been doing for generations. Here are a few. 

left: RIPE WILDING MOON. beach material, collage and acrylic on unstretched canvas. 15x12cm. Made on location at West Bexington, August 2016

right: The evening of BLUEBERRY MOON.(below)
BLUEBERRY MOON. details. 122x38cm. beach materials with acrylic on unstretched canvas. September 16th 2016. Moon illusion made it seem very large..(in reality it was a little larger than most) and it's gentle translucent pinkness (due to the fact it was close to the horizon) was lovely indeed.
I was picking blueberries in our garden at the time I was working at West Bexington near Abbotsbury. A soft pink moon rose just to the right of Portland. To the left of the moonless fragment the outside light of a solitary house turned on and the darkness declared itself inhabited.  
detail of ELEVEN PERCENT MOON. The last of the September moon last week at dawn at Cogden Beach, near Burton Bradstock.
EXHIBITIONS- current and coming soon:


Opening event and drinks reception (open to all) Friday 11th November 6 - 8pm
I will speak informally about the making of the work at 7pm. 
Exhibition open: Saturday 12th and Sunday 13th November 10am - 4pm. I will be in the gallery all day on Saturday.

The work will remain on the walls until Tuesday at 4pm. Viewing by appointment. Do come if you are in Guernsey.

In March I was awarded a research grant as a visiting artist... Im presenting the results of my time on the island.

COBO MOON, GUERNSEY. March 2016. Cobo Bay materials with acrylic on MDF
THE DISCERNING EYE. 17-27 November. Mall Galleries, London. I've 3 pieces in the show.
ADVENT EVE, Charmouth, Dorset. acrylic and beach material on found wood. 18x14cm
continues until 29 October  
Featuring Mark Buck, Frances Hatch, Jonathan Newdick, Naomi Rae and David Walsh.
Kevis House, Lombard Street, Petworth, West  Sussex, GU28 0AG
 01798  215 007
Gallery opening times: Monday - Saturday, 10.00 am - 5.00 pm
SPUME: THE VOMIT. St Anne’s Head. 2014. gouache, car park debris, cliff path material on Khadi paper. 38x38m 
I'm renting a caravan next week to work along Triassic cliffs near Sidmouth in Devon...
Best Wishes for this Autumn from Frances.
Copyright © 2016 Frances Hatch. All rights reserved.
October (Moon)  2016 Newsletter

My mailing address is:
The Rectory, Church Street, Burton Bradstock, Bridport, Dorset, DT64QS.

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