These 2 paintings are examples of early work (pre-2009) based on sketching in Southwold Harbour (Suffolk, UK). In the first, the ink lines are freely made with a twig, not trying to make them 'like' the sheets of the boats. It gives a nice sense of that great clinking noise made as the breeze disturbs all the rigging. And the dribbles create a watery feel. I think there is also already in this work a sign of the minimalisation of form which has become typical of Ruth's current style.
A small oil on canvas. Having begun the work based on a beautiful abstract glass tile which had no discernable boat shapes in it, over time shapes began to emerge which spoke of the rounded form of boats.
Ruth continues to enjoy finding the forms she will then develop further into the completed painting. This finding is a slow process of discernment over time during which the composition, particularly in oils will continue to change depending on what Ruth is pleased with or dislikes. It resembles the work she did as a psychotherapist, where only slowly by routes which re-visited territories again and again, did the picture take a comprehensible form. To this day Ruth prefers to discover rather than plan and control.