Exhibition at Music Hall
A weekend at the Music Hall
The Aberdeen Artists Society once again took space within the annual Exhibition and Sale of Artworks at the Music Hall, Aberdeen, over the weekend of 30–31 August. I was delighted to join a group of distinguished artists and to exhibit a broad selection of my watercolours for the very first time.
I was the only exhibitor showing a complete display of pure watercolours. Others brought a mix — acrylics, oils, inks and pastels — with the occasional watercolour among them.
What I brought to the stand
Alongside around fifteen framed pieces spanning a range of subjects, I built a cross-style browsing stand and filled it with about twenty mounted, backed and signed A3 watercolours, each in its own protective sleeve. The stand was busy throughout the weekend. People lingered, asked about subjects and styles, and were keen to chat about colour choices and technique.
Settling in
As this was my first time exhibiting in this company, I’ll admit to feeling a touch overawed at the start. That quickly gave way to the warmth and camaraderie of the other artists. It’s good to put faces to names after months of emails — and nicer still to feel part of the group.
Business cards and quick access
I updated my business card to include my email, mobile number and a QR code. It proved handy: many visitors scanned it on the spot and explored my website there and then — the quickest doorway to my full catalogue.
Choosing what to frame
I selected framed pieces that I felt best expressed my approach to watercolour and was pleasantly surprised by how many visitors also gravitated to the mounted works on the browsing stand. It’s useful to see what catches the eye in person — a different kind of feedback to online viewing.
A highlight: St Machar Cathedral, revisited
One piece drew especially strong interest: my St Machar Cathedral watercolour — first shown in a previous newsletter — now refreshed with a new sky. I had never been fully happy with the original texture and depth; the darker tones sat a little too heavily over the building. So I lifted the sky and repainted it lighter, using Deep Cobalt Blue and Titanium White, applied with water, tissue and — yes — the three middle fingers of my painting hand.
The result is brighter, clearer and, I think, truer to the mood of the place.
(SEE PAINTING)
Why watercolour — and why it’s tricky
Several conversations echoed a familiar story: many artists begin in watercolour, then move to acrylics or oils because watercolour’s discipline can be unforgiving. I understand that instinct, but I also find it rewarding.
If you’re starting out, my advice is simple: draw, then draw again. Sketch your subject repeatedly with soft pencils. Learn how each pigment behaves in a wash, and what happens when colours meet and mingle. It takes months — years, really — but the foundation it gives you is priceless. I’ve been through that testing period many times and still experiment constantly. Watercolours reward patience: gentle layers, built gradually, create the strength and atmosphere a painting needs.
Meeting people, hearing reactions
Friday evening was for invited guests — a good chance to talk in depth. Saturday and Sunday opened to the public, and I was genuinely heartened by the kind, thoughtful comments and the curiosity people brought to the stand. Those conversations are why I love exhibiting: you see which moments resonate.
The outcome
It was a tiring weekend, but a fulfilling one. Most importantly, it introduced my work — and the quality I strive for — to a wider audience. Mission accomplished.
To those who regularly open this newsletter, and to new readers just discovering my art: thank you for your continued support. I hope you enjoy what you see — and if something catches your eye, I’d love to hear from you.
— John
