And time passes…and I’ve not managed to post in very nearly a fortnight.  Perhaps I’m running out of things I want to say…or just too busy with other things (but what?) or just too plain idle.  But there are small moments of thought that might have made decent posting.  Like the economy and certainty in the 50’s and 60’s of Francis Bacon’s paintings that moves into a kind of Mannerism later where the paint thickens and becomes perhaps a little less sure of itself (at least to my eyes) – seen in the rather good display at Tate Liverpool (now sadly closed I think).  Or the sheer genius of Louise Bourgeois in the display in the new Switch House at Tate Modern.  Here I was especially taken with 15 drawings made in her 97th year…and I’m certain mistakenly labelled as etchings? (or not..the etching is the base on which she drew further marks so the link says)..although maybe I’m wrong (as without looking too carefully I mis referenced to my companion a Whiteread as an Andre!).  I was less excited by Wifredo Lam than I had expected…too much influenced by others (even after the early days) and thinness in process taken perhaps just a wee bit too far.  And the Liverpool Biennial display at Tate which (sorry but) looked like contemporary art but was pretty much just stuff by and large.


Try outs for East Coast

In my own work I’m busying myself with various projects,  making inroads into what has become the second part of a three part romp through Schama’s Landscape & Memory, getting into the Playground of the Midlands canvases, but also casting around for a form for a series of paintings stimulated by the East Coast (a follow on from the Cornish Coast group).  At first I experimented with a tall upright and agonised over the exact dimensions settling eventually on two competing sizes and ratios.  Then I pretty much settled on the thinner of the two at 130 cm. high (the turning of the flat coast in the east on its side an idea I nicked from Shelagh Cluett, oddly enough one of whose works from the relevant series was up in Tate Liverpool).  But – and I imagine anyone unfamiliar to art practice will wonder what I’m agonising about! – I’m still not happy so I have plundered the far past for a ‘fresh’ idea (see top of post) a take on my proscenium arch idea that I first deployed in my practice in 1969.  There’s nothing new under the sun…well certainly in my practice!