These panels were carried over from Very Like Jazz…from a few years back. So I’ve dusted them off and worked them up dreaming my dreams of Marx and Nash in NYC – I don’t know if either of them ever visited but no matter…
And amongst them are one or two from other reveries…
The sixth of this series, the first finished this year. Tricky customer this complexity in abstraction. Not as tricky as life nowadays though! Welcome to 2021…hopefully it will improve!
The Paintings Standing Up continue. It’s a lot of fun and feels quite liberated. Something worth having whilst C19 restrictions are still in place.
with the Wonky Geo‘s…numbers 147 through 151. By my reckoning 29 to make up the arbitrary 180 in the series (each box holds 45 comfortably and I’ve only four boxes of the required size).
Be glad to get these done and dusted now…
A few days back my daughter suggested I stop posting my virus paintings from 2014 and forego a group of ten paintings of Plague and instead focus on something a bit more optimistic…I can’t imagine why…
However anxious to please I’m putting this latest canvas, an outlier from my Lunar Pulls series, titled On The Margin after the quotation utilised in it. Taken from a poem of the same name by David Wright.
It’s earliest iterations were less exuberant especially as regards colour but in the current circumstances a brighter palette seems a good idea. Wright is much under rated I reckon…and the poem referenced (of which the text utilised is simply the opening stanza) is a long peroration on art and life encompassing references to the author’s profound deafness) is most excellent. Take care of yourselves and keep washing your hands folks.
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…
The last of four small paintings that started back in January on Cape Cornwall! It’s a lack of positive productivity that the top slackers would admire!
When a plane goes down, mercifully rarely, the first thing that happens is a search for the Black Box. Hopefully it tells investigators what happened, and how. So this group of little sketches, doodles, scribbles, or whatever is part of the record of the larger, more carefully considered and constructed works. The Black Box sits somewhere between the Wonky Geometry series and three even smaller boxes of even more provisional pieces.
I enjoy these a lot. First it helps avoid waste – I can’t abide waste – by using papers from projects that failed and using up paint that would otherwise be discarded (not into the watercourse though!). Alongside that it’s an activity that can carry on alongside the reflection, the mulling over, of what to do next on the more substantive works. No time now for idle hands. And finally there’s the freedom to play around – to not be too serious.
As yet I’ve no idea how many will be made, as with the Wonky Geo‘s these come off a large pile of sheets cut to the size in a rotation as my fancy takes me and are numbered on what I consider completion.
Do you have as untidy a studio as mine? I only ask because I’ve been trying for quite a while now (the very decent Climate Change weather helped…the studio can be perishing in mid-winter) to do some housekeeping. Tucked away in back a bunch of smaller canvases that, for whatever reason, never got fully resolved. Including these two from back in the day…well five years or so ago. Around the time I was working on a bunch of big canvases (well biggish nowadays) that showed at the Carnival Of Monsters in Beeston, Nottingham in 2014. These had started out as the continuation of the Conversation Pieces that in turn began back in the late noughties but altered tack during the painting process erasing the more biomorphic forms with a renewed interest in formalism (albeit of a cranky kind). I say biggish because at 7 by 5 foot they would have been considered fairly tiddly back in the days I was a student at Birmingham where the legacy of John Walker was writ large – literally so!
But alongside the bigger pieces I made these smaller panels, indeed I made several even smaller still. Getting them out suggested they might have made the cut…excepting that they needed a small adjustment here and there which is exactly what they’ve just been given. Are these new completed works to be dated 2014/19 or is that as pretentious as I’ve always thought it to be when seen about the place..?
Numbers 57 through 64…been a decent couple of weeks for completions…aiming to finish up a few more to fill out Box Two. Mind that will need me to pick up the resolution rate as I need to get through to ninety! Had been hoping to have two filled by the end of the year…looking a tad ambitious now though you never know?
Plainly Painting - David Manley 