Sometimes it just gets going…and what a good thing too, or I doubt I’d bother. But just occasionally I get started on some new pieces and everything seems to jog along pretty well. So it is with the Rock pieces, third part of the Landscape & Memory project.
Of course tomorrow morning it may all turn to dust, that happens just as regularly!
Still as the light fades (and today was proper Spring until four this afternoon) I’ve these three plus five others that have seemingly got something I can work with. Tomorrow I’m out and about but it will be interesting to return to the studio first thing just to see how I feel about them…
I’ve had quite a time of it recently…several bouts of mystery illness culminating in a nasty flu that still has something of a grip after a week…picked up ironically at our local A&E whilst I was waiting on a family member who was ill at the time! Best to stay away from hospitals if you can it seems. Today I’m feeling just a little more human, enough to review progress on the various projects I have on the go (regulars will know I keep far too many differing things in play than is sensible). Here is the second batch of the L’Histoire De L’Eau pictures – part two of the Landscape & Memory trilogy based very loosely on Schama’s book. Working with these is a curious process…whilst I have already chosen my eighteen texts some of the individual panels immediately suggest which one should accompany it but others much less so, to the point where some have to undergo drastic reworking to make them applicable. And of course as each text is taken this gets harder so that eventually (at least with part one, Waldgeschitchen ) I am forced to write out each remaining one and shift them around the panels till I can make it work (or in one or two extreme cases replace them altogether). I guess some might say – quite reasonably – this seems a cock-a-mamey way of going about things but its my way for better or worse.
We’ve all experienced those times when making the effort to get to a show is tough. After a round trip to Grimsby (210 miles) another hike down to Coventry as the evening drew in wasn’t favourite. But I really wanted to see Visual Stream, a solo show by the painter Jeff Dellow. And it was a real pleasure. Over recent years I can count on the fingers of two hands (and I see a lot of shows) outings of abstraction by individual artists (they tend to be as rare as hen’s teeth given the predilections of our current curatorships) and fewer still that give one the rarer still feeling of complete satisfaction and – joy – an extremely precious commodity in the contemporary art world.
It’s the first thing that comes at you in this well selected (by fellow painter Matthew Macaulay) show that presents a small selection of Jeff’s little panel paintings and a goodly number of the larger canvases is a joyfulness and playfulness in the opportunities that abstraction offers. And the colour palette is as joyful, vibrant, diverse and equally as exuberant as the handling.
There are a range of tropes at work of course, but these are varied and diverse…just sufficiently repeated to bring the stylistic consistency to the whole but never dull or lazy. Every so often you spot another, different and original painterly handle, a flick of the wrist, a smear, another kind of grid played off against a box or a plane, and so on. An endless variation of the painters thinking, an expansive repertoire based on quite a few decades of concentrated looking and absorbing what paint can do and how it can be deployed without resorting to mimesis. There is deep time locked into these pictures, that despite their alarming freshness, also embed a lifetime of intensity in the consideration of abstraction. The show runs in the Lanchester Research Gallery, in the Graham Sutherland building on Cox Street, Coventry until 2nd February 2018 – if you care about abstract painting in the present you need to get along there!
in the past comprised a lot more activity and required a good deal more energy. Nowadays the spaces I have over the festive season allow for greater reflection and the opportunity to catch up on the production of work – in this case Osiris Hailed from what is now – fanfare – L’Histoire de L’Eau – well I gave section one of Landscape and Memory a title in German so now why not French? So I’m now 7 into this second of three sections with 7 or 8 more on the go. A big push post this holiday season & part two may be cracked. But of course that leaves an awful lot of other bodies of work up in the air…so I guess I need to get back to full fitness and, crucially, get my work plan back in place…but that sounds ‘orribly like New Year resolutions – and I hate them!
back at work…though I’m still not entirely well but good enough to give some attention to the various bodies of work I have on the go at present. I’ve written before of how I’m pathologically incapable of focussing on one thing at a time. And so I just looked back through these pages to see when I last mentioned the Water series. These are following on from the Waldgeschitchen series and will comprise the second group of three such works that will make up my musings on Simon Schama’s Landscape & Memory. It was way back in February – so at this rate of progress this project may outlast its creator! Still over the past few hours I’ve completed the sixth of this second group of eighteen.
So I’m trying to ‘put in the hours’ as one of my colleagues used to say to me when I was pressing him about spending more time teaching rather than making – and he was right there really is no substitute for being in the space and getting on with it if you want good outcomes.
It always intrigues me as to how others go about the disciplining of their practice, after all you read often about how, for example, Henry Moore, had a very defined studio routine and how legendary is the amount of time, say, Frank Auerbach spends in his room and it’s easy to see with some artists output that they must have been very focussed and hard working. Then again we all know those who do rather little but it goes a very long way indeed…
to have been part of the extraordinary adventure that was stimulated by, and masterminded by, Robert Priseman. I have Terry Greene to thank for suggesting I contact Robert over a year or so ago and beginning my own small part of what has been quite an amazing story.
It was the exchange of paintings, mine from the Very Like Jazz series and the gift of a lovely panel picture from Robert in return, that led to the invitation to be included in Contemporary Masters From Britain currently on show at Tianjin Academy of Fine Art having visited three other large Chinese venues since the summer. Tianjin is, apparently, the sixth largest city on the planet! and I’m ashamed to say that until recently I’d not even heard of it. Things in the world are changing fast it seems.
Being a part of this tour that ends in January is only a small part of being in the Priseman-Seabrook collection as it features on the Art UK website and is an on-going venture that unites a great many of our best painters. It’s been good to meet and get to know artists such as Lucy Cox, Freya Purdue and several others…and hopefully more in the future.
Its helped me over recent weeks as I’ve been feeling unwell and am still struggling with a (so far) mystery ailment that is severely restricting my productivity. Not least in keeping up this blog as well as getting on with my painting. I had hoped to end the year with at least two current bodies of work pretty much rounded off, but sadly they both have a way to go yet. So it goes.
Nonetheless the New Year already promises fresh opportunities. Firstly my good friends Jackie Berridge invited me to be a part of an exchange with artists in the Honfleur area of Northern France in April. As a long time fan of Boudin, a local boy made good, it was too good to miss. And another friend the excellent painter (and printmaker) Laine Tomkinson is putting on a show in Nottingham Make Colour Sing in May so much to look forward too.
well its been an interesting week…generally I make it a rule nowadays not to enter competitions. My only exceptions over the past decade has been the Moores (out of habituation, I’ve been doing it since the early 70’s) and the CBP because a goodly number of painters I respect have been party to this set up since it began around 2012. So it was something of a punt that I found myself entering and then – surprisingly – being short listed for the Threadneedle Prize for figurative art with a sculpture. Oh yes…quite a surprise for anyone who knows my work as being a) resolutely abstract and b) almost exclusively painting. It came about by capricious accident, my wife (a previous prizewinner in this same competition) was entering it one morning as the deadline approached and a tad mischievously suggested that one of my Paintings Standing Up (the series yet to be fully resolved) might pass muster as ‘figuration’. Well it was true that it was around the right height for a figure and that the violin mounted onto the ‘torso’ projected from it around the right angle for being played. Adding a dodecahedron on top and two boots below and…é viola you have The Fidler.
So being shortlisted required delivery to the Mall Galleries last Saturday morning, a round trip of 236 miles that went surprisingly well and, being a gloriously warm sunny day for late October, was augmented by a visit to Tate Modern. So far so good but, hey, not that surprisingly, a rejection followed on this past Thursday that, you’ve guessed it, meant another journey this Saturday. Not such a breeze as first the weather was wet, dark and greasy all the way down and secondly Regent Street was closed requiring a work around the centre of town to reach The Mall. This time we turned tail and headed back ‘ome straightaway. I’ve no complaints – you shouldn’t enter these things if you’re not prepared to be knocked back but, gawd, its been a bit knackering!
Oddly enough the trip to Tate was to take in the Ilya & Emilia Kabakov show – the central element of which (and that gives it the title) is Not Everyone Will Be Taken IntoThe Future…in this installation the ‘Art’ train is leaving the station carrying those works deemed ‘good enough’ whilst a heap of canvases etc. are left spilling over the platform…to which we might now add The Fidler!