Many a good tune…

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The Fidler, 66″ x 22″ x 25″, rescued timbers & jesmonite, 2017

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.

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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!

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sketch for Not Everyone Will Be Taken Into The Future

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!

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Relocation

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As one gets older you begin to realise how quickly time passes and how much things change (shades of Dylan again…).  One day (and it doesn’t seem so long ago) I accompanied the sculptor Paul Mason on a trip across to Clipsham just north of Rutland Water to see him finishing off a new work in stone – Leaf Fields.

This piece had been commissioned by Hertfordshire’s RIBA branch to be sited in the county – there were (I now have discovered) three potential locations for it but the one chosen was St. Albans and, specifically, adjacent to the Alban Arena (appropriately enough designed by Sir Freddie Gibberd, a long time supporter of Paul’s work).  Like so much public art its life has been marked by both love & devotion and hostility & admonishment, and often just plain neglect.  Luckily for this piece it has its protectors – in particular those pictured above, foremost among them Professor Chris McIntyre of Herts University (centre in picture) who was instrumental in having it relocated a short way from its original site.

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Of course the passage of time has given the creamy Clipsham limestone a deal of patina, some mosses and lichen.  Whether or not this ought to be removed when it is finally re-sited (due to happen in a few years when a new City Centre Museum & Visitor Centre, – an ambitious redevelopment of the Town Hall – will be completed is a debatable point.  What it does prove beyond any doubt is that a relatively short passage of time, just over thirty years, and nature reasserts its primacy over culture.