The generation of an idea for a painting, or a series of paintings, isn’t really that hard.Actually finding the form for the notion and then committing it to canvas or paper (or whatever other support you come up with) is a darn sight more tricky – for me at least.I sometimes envy those painters who go to work day after day (even year after year) knowing that it will be more rectangular stains or oily stripes or spots or whatever, and that these vehicles can encompass all their feelings for what they think the picture might stand for.
And as I come towards the end of a group of like minded pictures (occasioned by either a natural or practical conclusion) I start thinking about what may come after.But rather than moving forward with freshly minted thoughts it seems like one of those times to think about mining older shelved projects. So I’m toying with a set of canvases that will be based on the stack of collages made off the back of a trip to the Minervois way back in 2007…
But for the present here’s one that started out down in Dorset…text then from Robin Robertson’s poem of the same name…
Yesterday was good, really good actually, beautiful weather – sunny and warm but with that slight cooling autumnal breeze – the makes England, especially that rural part of England that is the Playground of the Midlands such a good place to be stirring the creative juices. If you want (and why not?) some good images of our travels head over to the site of my pal and partner in crime. I’ve long since given up on slogging it out with him on the photo front – my images are simply fodder for the paintings, not least as I bastardise them extensively before using them as the equally loose basis for the paintings themselves (see below!).
Though my pal’s blog points up a particular problem with the project – that villages like Swithland present rather few points of incident for novel creative interventions. Indeed I was reduced in that location to snapping planning applications appended to the telegraph poles…
And this got me to thinking today. I, with most of my family, was overjoyed that, despite the awful, nasty vilification from Labour MPs, the whole UK media and a loud but mercifully modest (and utterly misguided) section of the membership, got our Leader re-elected. This after a poisonous and wholly unnecessary contest that did nothing but deflect us from the vital task of defeating the awful, corrosive and divisive Tory government hellbent in taking us back to Victorian times.
As we strolled along the road, passing the homes that (entry level 500k plus) lined these leafy glades, it is easy to think that the Tory way is set in England forever (and some of my Labour friends think our decision to elect a genuinely left Leader seals the deal). But these places are ‘true blue’ and of course will never elect a decent fair-minded and compassionate government. Greedy, selfish and narrow-minded bigotry seeps out of a fair few driveways (apologies to those thereabouts that don’t see it that way, I’ve met quite a number over the years!). But nonetheless the fight for a properly fair and decent society has always been fought on a thin sliver of the electorate (usually no more than 500k) whose interest in politics is marginal at best and most of whom take little or no interest in the day to day knockabout of the political process. Their votes are always up for grabs and more often than not go to the party that seems least likely to upset the applecart (and its usually the case that one side loses rather than that the appeal of the others wins).
And so (with my first stab at the likely image for Shepshed from my project as my headline image) I’m thinking: why have so many of us decided to back a properly left of centre leader for our party (now apparently the biggest left of centre political party in Western Europe)?? Maybe, just maybe, the really radical and constructive alternative to a Tory government (whose sole purpose is to protect the interests of the few over the many) can succeed if it sticks together and keeps true to its principles. Not least as whole swathes of middle England (the Shepshed’s rather than the Swithland’s) sink deeper into despair to shore up the super wealthy and the penny begins to drop that it just ain’t working for them. We can only hope.
from the installation and opening of All Of My Senses at Harrington Mill (see above) it’s inevitable that I’m thinking what next? Of course I have a myriad of ongoing other projects (blogs passim) but as its the first outing for the Waldgeschichten one or two useful discussions at the Opening yesterday clarified some thinking for me. One of the panels that never made it to the wall (there were three others) just didn’t ‘fit’ with the rest…and as a result never had a text intervention appended. Until yesterday I hadn’t thought about it too much. But now its clear I was already unconsciously plotting the response to the second section of Schama’s Landscape & Memory…the one on Water. So today I’m cracking into this. Early days but I’m really excited at the potential! Sad really…
It’s always gratifying when you plan something out and it pretty much comes together in the way you hoped. There was a plan of sorts that emerged over several months, starting with an almost whimsical experiment utilising torn pieces of failed works on paper collaged onto larger sheets, and then very gradually coalescing into a group of pictures around the loose idea of woodlands egged on by a careful reading of Simon Schama’s Wood section from his Landscape & Memory book from 1995. The form is a tight grouping of images – something I’ve done a lot of over the past few years – and here it reflects the notion of ancient woodlands as dark and enclosed spaces of the kind that have all but disappeared from the contemporary landscape. Installing them was easier that I’d imagined, in the main down to the hard work of my wife who did most of the heavy labour, and they pretty much fit the space as I’d intended. Ideally they would be viewable from a greater distance though that would dissipate the density idea so I’ll go along with Barnett Newman‘s initial rationale for Vir Heroicus Sublimis at Betty Parsons – its meant to be that way!
It sits on the long wall at Harrington Mill (where I’m showing till October 2nd) and faces off against several paintings from my Very Like Jazz series that have evolved over roughly the same period. How can I make such different pictures? Well its just the way I roll – I don’t have a specific style, brand if you like, never have and never will. For me very different subjects require very different treatments out of a creative mind that can think very differently at different sessions. The critique of this includes the accusation of dilettantism to which I’ll happily plead guilty as charged.
Take for example the Cornish Coast series, reworked from the small ten centimetre blocks, to a bigger format of 30 x 30 cm. by 7.8 cm. deep. These are quieter, more straightjacketed pictures operating within a constrained format where only colour operates loudly. But for me it is important that the experiences of the specific locations are enabled through the surface modulations and the colour juxtapositions, both sympathetic and jarring.
Another wall features a selection of paintings from yet another sequence, ongoing for two or three years now, entitled Wonky Geometry. These operate pretty much exclusively within the realm of ‘pure’ abstraction whereby a predetermined open structure is put through its paces by the intuitive operation of gesture and colour within it. In my mind its a kind of Mondriaan on acid(not that I take acid nor have any delusions that I’m in the same ball park as Piet)…I simply operate in the same manner!
Anyway all these paintings can be seen at the Mill from 2pm on Sunday till Sunday 2nd October. It’s best to check on access – better still get in touch on 07808 938349 – to be sure of viewing. But I’ll be in attendance from 2 to 4pm.on Tuesday 13th Sept., Friday 30th and Saturday 1st Oct. if you want to come along and see the work and have a chat about it.
on a day when I was hoping to put to bed one of my ‘Wonky Geometry‘ series up pops the most recent of the Jazz group of paintings and good ol’ Dexter Gordon furnishes the title. As it happens his Our Man In Paris album is an old favourite of mine. I even managed to get my own way with the name of my third child after it. And strangely enough he fetched up at the house at just the time when it finally resolved itself (like most young men he rarely shows up at home). Getting the picture to this point meant completely repainting the ground with this pale yellow green as the way in which the various elements could properly come together. Oddly enough my wife had furnished the critique that led to the decision and she had also pointed me in the direction of this useful text on painting, a small part of which seemed very relevant to the way in which these pictures have come together, for which I’m (as often) very grateful!
The text in case you haven’t followed the link contains a sentence that sure resonates with me in wrestling with this picture (and the Wonky ones yet to be resolved)…
“It is, as an artist I know has said, one semi-mistaken brushstroke after another applied until a kind of truce against the possibility of a perfect painting is reached.”
is the first part of the title of the show I’m putting together at present. The work that will comprise the exhibition is all painting and I imagine that, for most everyone, nails it as a bit crazy as a moniker. After all paintings are just about seeing aren’t they?
Well not for me. Some paintings in my head, like those I just completed for the series entitled Waldgeschichten, are all about touch and taste – they are about pushing and pulling paint about, taking a great big nag out of the pigment and chowing down on it voraciously. But then there are paintings like these…that are part of the Cornish Coast series…where its sound that seems to be the predominant factor…and its a sound of something that has real deliberation about it. I guess I’m thinking about Satie or Keith Jarrett playing solo and live (The Koln Concert and beyond) or, as now, Nils Frahm. In all this music its the intervals and silences, the tiny changes wrought out of the material, and so carefully considered. Anyway that’s how I think about these works and the way in which, operating within a much tighter formal construct, colour and surface can interact to produce something hopefully worthwhile.
So I have ideas around sight, sound, touch and taste going on in my head…and when I work with oils (and to be strictly accurate some of my acrylic concoctions!) I suppose smell comes into it too. So that’s how the title has arrived.
Its been a good day…in fact its been pretty blissful. The painting has gone well and as an accompaniment the fourth test has gone pretty well too. The comparisons don’t just stop there either. In fact at lunch we were both struggling. But sometimes you just have to dig in, grit your teeth and keep at it. You have to watch the good balls go by, not get frustrated and keep pushing forward and eventually you get the odd loose ball and you get your stroke right and it races to the boundary.
I could be talking about the cricket but its been pretty much the story with the pictures today, after a slow start towards tea it started to slot into place. So I’m now rather satisfied that I’ve got the eighteen pieces that will make up the wall of the Waldgeschichten (Forest Stories) that will be the backbone of my upcoming show at Harrington Mill (from 4th September). Oh and England finished the day in a decent position mostly due to a stunning innings from Moeen Ali.