Monday, 23 February 2026

ROUSING STORM ROUND SANDSEND'S GROYNES... (My new poem inspired by Sue Nichol's painting about Sandsend, near Whitby...)

 Rousing Storm Round Sandsend’s Groynes…

(Inspired by Sue Nichol’s new painting…)



The rousing array of yellows, blues and strips of amber

Complement the wild, seething North Sea, boisterous

And aggressive, its white tips flicking in irritation.

Rising at the headland in a belligerent siege, it breaks on umber

Rock, pummelled by the tousling tide, turbulent and cantankerous,

Surly and objectionable in a chilling demonstration…


The watching groynes hold their ground doggedly,

The worn stumps of glistening wet anchored wood

Holding their ground in a regimented display of permanence. The wild and stormy sky, daubed egg-yolk yellow, its swirls violently

Formed captures the chaotic beauty of nature’s truculent mood,

Whilst the stunted sentinels endure, break some water and survive the malfeasance… 


Pete Ray…

23rd February 2026…


Love Sandsend and love the groynes…


Before I visited the place, I had already written a poem about a Sue Nichol painting of those very same groynes…



The Sand Martin appreciated the painting too and commented:


‘This vibrant colourful painting of a dramatic coastal scene demands attention. It features a wild sea, a virtually sheer cliff-face and such a sky.


The sea is remarkable, appearing to lash out as if trying to reach upwards for the sky. It looks like a rage as sharp spikes of water edge the furious waves, vividly painted in bright blues and yellow along with deeper shades of green, white and reddish brown. 


Perhaps the darker colours show sea bed disturbance, swishing and swirling upwards to the surface. 


It reminds me of a crazy brain with a myriad of thoughts crashing into the mind and trying to find release out into the world. 


By contrast the six sturdy groynes hold their ground firmly like well organised people surrounded by the discombobulated who feel frantic. 


The smoothness and colours of the steep cliff contrast beautifully with the colours and textures of the ocean. 


The use of oil paints gives the painting texture, dramatising the forms, particularly of the waves.


There is reassurance in the blue of the sky and evidence of sunshine, offering a happy and bright feeling, although the shape and direction of the clouds indicate that a strong forceful wind is blowing. 


The yellow and blue is reflected in the waves as livid seahorses crowned with white surf lunge towards the coast and the base of the ominous looking cliff. 


One could feel frightened of that sea but the groynes in the foreground offer reassurance that one can keep calm whilst all around is chaos, disorder and madness. 


This wonderful painting evokes an emotional intensity, reminding one of the awesome powers of Mother Nature…’

Sunday, 22 February 2026

WELLS-NEXT-THE-SEA WITH A PERVADING MIST... (My new poem inspired by John Tuck's painting...)

 Wells-next-the-Sea With A Pervading Mist…

(Inspired by John Tuck’s painting…)



Tethered boats niggle idly upon Wells’ full tide, their

Moorings stable upon a wharf wall, stern and weather worn.

A mesmerising mist smothers the quayside, pervading,

Probing, infiltrating and luring with its propensity to seep

And mystify, fading the weak sunlight to peach and buff 

At its upper reaches, then sidling between red roofs to where

The old granary stands as testament to industry. The haze permeates the forlorn  

Gantry, supported by spidery legs, once used for the loading  Of malt onto vessels bound for breweries, then the smog wriggles free to creep

Across the channel onto the marshes, amongst wading birds and samphire grass, hardy and tough…  


Pete Ray…

22nd February 2026…   


I love Wells…


Hope to be there in a couple of weeks…


The painting sets the scene with some fascination…


(Malt is grain, made to germinate by soaking it in water but it is then prevented from further germination by drying it with hot air. This process is known as ‘malting’…)


The thoughts of The Sand Martin...

‘This exquisitely painted picture depicts a scene of three or possibly four small boats on the water near the wharf at Wells -next –the- Sea.


Two boats are moored on the wharf itself. The boat in the foreground is painted in red and white and focuses the immediate attention. Close by a blue and white boat is also moored and further along in a similar colour is a rowing boat with one occupant. It is the only clear movement in the picture. 


The colours of the boats are bright compared with the overall pale delicate colours and ethereal style that dictate a calm and quiet feeling. There is a soft glow in the smooth sky as pale yellow and apricot colours blend imperceptibly into soft pale grey blue tones that are reflected beautifully into the water where there is barely a ripple. 


The sea and sky would almost merge together if it were not for the wall of the wharf and also buildings in the distance all painted delicately in pale misty grey tones.

The feelings of peace this evokes are in contrast to the once very busy quayside when malted grain from the granary was transported by sea to the breweries. Now it appears as a sleepy dreamy place of recreation and leisure. 


It is an idyllic scene with soft muted gentle tones where boats, wharf and buildings almost merge into a Heaven on Earth and Sea…’

KENILWORTH SPORTING 5-1 LEAMINGTON HIBERNIAN: THE LINK TO 20 MINUTES OF VIDEO ACTION WITH FULL COMMENTARY...


PLEASE CLICK ON THIS MESSAGE TO GO TO THE 20 MINUTES OF VIDEO ACTION WITH FULL COMMENTARY... 


BRAD ALLIBONE (WALKING TOWARDS THE CAMERA) HAS NETTED HIS SECOND GOAL, TO ADD TO HIS BRACE OF ASSISTS... 

RARE JOY FOR HIBS, AFTER BRAD COLEMAN HAS SCORED FROM A PENALTY...

THE INIMITABLE CURTIS CUTTS (RIGHT) HAS STREAKED AWAY TO GIVE HIS TEAM A 3-0 LEAD...

HANDS ON HIPS TIME...

THE UNIQUE 'DUGOUTS'...

HARRY WILSON IS FORCED TO RECITE HIS 14 TIMES TABLE BY THE REFEREE...

BRAD COLEMAN AND THE USUALLY SAINT-LIKE JAMES CHAPPELL ARE CAUTIONED EARLY IN THE GAME.
JAMES & CURTIS CUTTS CHATTED WITH AFTER THE MATCH, WHICH WAS APPRECIATED...

MY VIEWPOINT...

CUTTS WAS DENIED ANOTHER GOAL BY A FINE SAVE FROM HIBS' 'KEEPER ATTWOOD...

I MOVED ACROSS TO THE MAIN SHELTER AT HALF-TIME, DUE TO RAIN, FILMING WHILST THE KENILWORTH CHOIR PRACTISED SHRIEKING HYMNS...

EARLY PAIN...

THE TOSS...

NEAT SKY OVER GYPSY LANE...

THE BODGING & THE PYDOG ENJOY THE DAMP GRASS...

OWEN SUDDICK IS ABOUT TO RECEIVE A TELLING-OFF...

SPORTING IN CELEBRATORY MOOD...


Saturday, 21 February 2026

SUMMER NIGHT... (My new poem inspired by a Harald Sohlberg painting, 1899...)

 Summer Night…

(Inspired by Harald Sohlberg’s 1899 painting…)



Summer light fades, reflected in windows and the rare sky

Forms a kaleidoscope array of pallid colours, angled into the imminent sundown,

Dyeing the fjord a stern shade of green, as it tarries, potent and silent.

Decorative rows of red and white flowers caress the balcony and its privacy 

In a show of affection and protection, intimating at an evening of romance…  


Carafes and half-empty glasses stand forlorn, two plates abandoned lie.

Gloves hang poignantly over an edge of the table and the glossy stools of brown

Have been discarded, as if vacated in the emotion of a celebratory moment…

A lady’s straw hat has been placed amongst the blooms, suggesting intimacy

To the occasion, a seclusion, a liaison between lovers, perchance…


Pete Ray…

20th February 2026…    


It appears that this painting was likely a celebration of the painter’s own engagement…


The atmosphere and colours created in the scene are really becoming, to my mind… 


The thoughts of an independent source, The Sand Martin...



'This delightful scene appears to show a wooden mountain lodge overlooking a forested area and the lake below. 


Beyond the lower hills and surrounding the lake to form a frame around it are gentle uplands or low mountains.


The balcony looks enticing, the balustrade decorated with bright orange and also white flowers. 


We see a table and two empty stools with half finished drinks and carafes still in evidence. 


This scene invites the onlooker to the table and at the same time to wonder why it has been left. Did an urgent call demand immediate attention elsewhere? Was someone overtaken by sudden illness? Did a dispute bring the encounter to an end? There are any number of other plausible reasons to cause the table to be abandoned suddenly… 


The positioning of the stools might indicate that they were suddenly pushed from the table. 

The use of very bold and striking colours suggests that a drama of some sort has taken place. 


The orange flowers are in direct contrast to the unusually bright navy colour of the uplands that frame the lake. This in turn is painted a vivid turquoise colour. 


The white flowers dominate the balustrade and bring the eye immediately towards the balcony despite the stunning scenery so boldly and attractively painted. 


Diagonally across from the balcony the white of the evening sky and the last of the daylight demand attention. As the light fades into evening shades of blue, it amplifies the drama surrounding the balcony. 


Again the white gauze tablecloth calls attention to this cosy corner of the balcony and we are left wondering and puzzling about the events that have occurred in this idyllic spot. 


A beautiful puzzle for one to consider…'