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My name is Marie Laywine. I am a Canadian artist living and painting in South-west Dorset for almost 30 years.

In my painting I work with what I call the “interior landscape”; I use images and ideas from my dreams to help me represent visually the mountain ranges and coastal plain inside me and the imaginary.

I am an artist.

I love painting.

I love art.

I love to hear the story behind the painting.

I love to know where it’s been.

I love to know how it came into being.

I love the dialogue that goes on about art.

I love to see a wall with paintings.

Art in Life and Life in Art are my passions!

I would like to begin this dialogue by looking at how my images come into being. This process is commonly known as the creative process.  I use a personal reference I call “touching the fire…” it is a magical space where anything can happen.

I, as an artist, am able to approach this space by working through my dreams.

And for this purpose I have chosen two of my works as a starting point.
Prelude NO. 34 by Marie Laywine, fine art
PRELUDE NO 34 – drawing
Prelude No. 34, painting by Marie Laywine, fine artPRELUDE NO 34 – painting

What is a ‘prelude’?

Chambers dictionary defines ‘prelude’ as:

‘an event that introduces and prepares the ground for a more momentous’ (event)

The idea of THE PRELUDES came about because of a curiosity about my dreams and what they are trying to tell me.

A DREAM is a communication from the unconscious to the conscious. It speaks to me in a series of images.  What the dream is trying to tell me is embedded within its imagery.  It’s with this understanding that I began to look for a way through the content of the imagery.

For each PRELUDE, the starting point was to record my dream. I then did a series of small pencil drawings isolating the objects from the landscape of the dream. On another piece of paper, more pencil drawings identified the feelings evoked by the objects in the landscape of this dream. Finally on a third piece of paper, I combined the landscape, its objects with the feelings evoked by them.

At the end of this process I discovered what I felt was an accurate statement which took me further into the process by reminding me of an event in the past. I then connected this information to a recent event with a similar quality that the dream revealed.

I concluded from this information that today’s dream is telling me that my reaction to the present stimulus remains unchanged from the reaction in the past and expresses itself in such a way that tells me I haven’t moved forward.

I can take this information a little further and possibly reach a realization that would show me a way of working to move the process forward.

The small drawing in graphite and pastels on paper describes this information in one image!

Further development of THE PRELUDE means taking the image beyond the original communication presented in the dream.

I ask myself what does this mean? It means finding a way of working to move the process forward.  By moving the process forward, means getting closer to ‘touching the creative fire’.

In the graphite and pastel drawing, the figure in blue almost fills the entire painting surface. The figure is a torso with a head.  The limbs are cut off by the edge of the paper.

The straining of the neck pushes the face and chin forward as though straining to see something in the distance. The chest is slightly concave.  The whole movement causes a push/pull effect.

There is a slight reddish streak emanating from the mouth, heart and genitals areas. In the genital area, the reddish streak goes across the boundary of the body and enters the yellow background.

The figure indicates a strong desire to speak about strong feelings concerning matters relating to the heart but is held in check. This is the information held in ‘inner landscape’ when such a situation arises.

In the painting, the central figure, now red, almost fills the entire painting surface and its limbs are cut off by the edge of the board.

The painting demanded a much larger format. The media became acrylic on a prepared board.  A natural sponge was used to obtain the fluidity of the pastels.

The central figure holds the same position and movement as the drawing. The tension of straining  in the neck and chin seems to have increased.  The blue has been replaced by red while the slight reddish streak emanating from the mouth, heart and genital areas has disappeared.

There is tension between resisting and moving forward is enhanced and seems to become more immediate. The thigh is strong and pulsing.

The painting seems to be speaking about movement on the surface.

What does this mean, I ask myself once more.

The image has undergone the transition from being a dream, to become PRELUDE No. 34, to become a painting. The numerous transitions indicate some change in the information held in the ‘inner landscape’.

And does the transitions speak of movement in the image?  In the artist?  If not, where has the change occurred?

Is the change in size and media dictating a different story the painting wants to tell?

Is the initial information of the tension created when placed in a position of speaking/not speaking moving into a possible action of change?

I’m inviting comments because I’m interested in people’s reaction to my work.


Both of these works can be purchased on: