People are crazy and times are strange I’m locked in tight, I’m out of range I used to care, but things have changed
So his Royal Bobness fetched up in Nottingham for the first time (I think) since 1966…opening up his set with these particularly pertinent lyrics – at least for yours truly. Maybe (mostly) its a consequence of my age but they seem to sum up our ridiculous and crazy world. How we can be sleep walking towards totalitarianism across the western world I really don’t know – just shows how seventy plus years of stability makes people (or rather a lot of them) complacent I guess. We can only hope that once things start getting seriously askew they may wake up.
And Bob has also changed everything, not least the tempo, tone and even the melodies of some of his best known songs alongside those many more recent and less well known ditties (a solid bunch off the Tempest album). But it was a decent show, house lights down on the dot of eight pm. and an hour and forty minutes of non-stop boogie, hard rock and some alarming crooning! But Bob always goes his own way and as one of these standards said ‘Why Try To Change Me Now’? So I kind of appreciate this bobbing and weaving to keep the audiences guessing.
I’m flitting between bodies of work in my painting too. As is by now well known to any followers of these ramblings I don’t do a ‘signature’ style but address each set of pictures in whatever manner seems to me to suit the occasion. Its especially messy right now. In one corner sits the canvas pieces for the Lavanderia series, in another the lumps and bumps of my Paintings Standing Up. Over on one wall another in the extending series of Very Like Jazz whilst right here is another of the twenty five or so small oils in the Charnwood series Playground Of The Midlands. Up on the balcony are the Water paintings (the second part of the Wood, Water & Rock pictures that take their cue from Schama’s Landscape & Memory). And somewhere at the back a small panel collection provisionally titled The Rigged Deck. Of course there’s also the painting of maps, the Wonky Geometries and the RagBags that just chug along forever. So who am I to call the world crazy!
It’s difficult to post whilst one is on the move…especially when staying in charming, but very rural, French hotels where the wifi is quite fugitive. Although to be fair on this occasion of the thousand mile trek across Europe it worked pretty well and my absence online has been more a consequence of my mystery ankle injury. This has made walking quite difficult and more to the point made me tetchy and restless…and its that really has kept me away from my blog. I seem to be on the mend at last so I’m back!
Although my mobility is still a little restricted I’m getting on with some work. Plotting out the upcoming show at Harrington Mill ought to be taking precedence but as usual I can find plenty of other distractions to keep me from closing the deal. Alongside the large paper works that are concerned with woodlands I have the Playground Of The Midlands project, the ongoing Rough Cartography, more of the Wonky Geometry both on board and on paper, the 50’s Jazz pictures (quite a few of which need collecting from the recent outing at the Ashbourne Festival), the Lavanderia d’Italia, my Ragbags, lots of the TFTLR constructions and some related sculptural pieces! So hardly any wonder I struggle to focus on just one project at a time and it is hard to refute the notion that I’m always spreading my creative energies too thinly.
Like many other people in the UK I’m also totally perplexed and a little discomfited by the current political situation and tempted to give vent to my feelings here. However so much is being said by so many about it all (and most of it opinion and speculation) that I don’t see much point in adding to it. Nonetheless it is all adding to a terrible sense of turmoil and upheaval that certainly isn’t good for the soul. I pondered this recently whilst viewing Out Of Order, a large solo show by Michael Landy, currently at the Museum Tinguely in Basel. He’s an artist that I’ve rarely given any thought about…other than his famous Breakdown work (where, in case you don’t know, he destroyed all his possessions in a fortnight) and if I expected anything it was that it would be a ‘typical’ YBA stuffist show…lots of rather fey bits and bobs. In fact it turned out to be both a thoughtful and extraordinarily intelligent show with a lot of very accomplished ideas well executed. He had jumbled up work going back over twenty five or so years in a kind of warehouse landscape aesthetic lending a chaotic air to a body of work of real substance. Rather like Tinguely himself Landy uses this air of entropy to disguise much deeper feelings about values and our idea of worth. I came away with a great respect for an artist that operates in a diametrically opposite location to my own preoccupations.
And having had a day of looking at what Museum Tinguely and the three locations of the Basel Kunstmuseum had to offer I came away with little else that genuinely intrigued or challenged me. Of course there were plenty of examples of famous and not so famous works on display. They have, for example, some extraordinarily good examples of Picasso and plenty of big, and I do mean big in the case of Frank Stella, hitters from the post war period in the US. Maybe I’m jaded (yes let’s face it I am) but much of the ‘contemporary’ work of the past twenty or so years seems to be pale retreads of what came before. Sophisticated and polished perhaps (with the art market in mind of course) but without genuine feeling or emotion or even just that vague inchoate sense of discovery. And this sense of unease and numbness also infects my own creative process too.
Perhaps I just need to step away from it all. Whilst away I took this snap of a little drawing by Phil Thompson (owned by my friend with whom we were staying). Phil was a man of few words, I knew him mostly as the fella at the end of the public bar at the Griffin, but a terrifically talented artist when he minded to work. This tiny drawing owes a little something to the Circus pictures of Leger and others but is also quintessentially ‘Phil’. As we are often told history is written by the winners and art history is particularly cruel in that if the work is lost and destroyed then no amount of post hoc revision rehabilitates its quality. Over the past thirty or so years the self publicists and their pimps that have flooded the contemporary art market have ensured their initial longevity but not of course their place in the real history of art that only really forms a clear picture a century or two down the line. However I doubt Phil has any chance of posthumous recognition beyond the memories of those who knew him but we who do will continue to derive much pleasure from his work. So we take strength from that and keep on working.
So I must focus pretty quickly now on this sequence of pictures that use the idea of Wood as their central theme. For quite a few years I’ve been indebted to Simon Schama and his Landscape & Memory for some of my thinking about work. It was especially helpful to me whilst I undertook my major project for my photography Masters back in 2010. Now I’m back delving into section one and finding elements that resonate with the large paper panels that will be central to my installation at Harrington Mill in September. So far there are three completed, each with a quotation drawn from the text, though the images, as always with my work, are substantially intended to function away from the textual as much as hand in hand with it. Looking forward to completing the other fifteen panels that will make up the piece.
in your soul…is one of my favourite Charles Mingus tunes. And as one of the sound tracks of the painting process for these ‘Jazz’ pictures what could be more appropriate? They are going on show at the Ashbourne Festival starting on 17th June.
Before that the first two ‘Ragbags’ pop up in the Precious Little show at HMS and that opens on May 22nd. A fair few more will be featured in the show I’m putting on at HMS in September “All My Senses At Once’ where I dare say a few of these “Jazz’ pictures will also be displayed. Up until relatively recently I really never bothered a great deal with exhibiting. When showing opportunities came along all well and good but I rarely sought them out. In my thirties and into my forties that meant a heck of a lot of work was made and never exhibited and, although more things happened whilst I worked in HE Art & Design, that had been the case up until five or ten years back when I started to think that maybe, just maybe, it would be nice to make stuff that people might see!
So if you can come along to one of these three outings (I’m doubting there will be no more opportunities in 2016) and take a look…after all I’ve been fiddling around with these for months (though you might not think so) so it would be nice for them to be seen.