And on…

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…

Wonky Geometry (cont.)

 

WG140
Wonky Geometry No. 140, 27 x 27 cm., oil, acrylic & pencil on paper, May 2020

It’s the series that keeps on giving…but I am bringing it to an end.  It was always going to be tough figuring it out.  But the fact of fitting 45 into each box (and only being four such) suggests 180 is it.  The pile of potential pieces keeps going so now some thought will have to go into what to do with the seventy or more pieces that will be ‘remaindered’!

WG145
Wonky Geometry No. 145, acrylic on paper, June 2020

 

 

Just carrying on…

April&Silence
April And Silence, 45 x 61 cm., acrylic on canvas, 2020

Goodness – this strange time of ‘lockdown’ has seen something of a lack of productivity on the blogging front.  I very nearly let a month slip by without a post…not that there’s been any shortage of work going on.  On the contrary it’s been quite a busy time what with an absence of movement out of the studio.  And despite suggestions to the contrary I notice a marginal increase in COVID cases over this week rather being over shadowed by exhortations by the ‘powers that be’ that we all go shopping alongside a return to work. In any event I’m going nowhere until I’m personally sure the risk is significantly lessened so the painting likely to continue at a lick.  This picture draws on another poem (with its rather prescient title) by the great Tomas Transtromer.

The Map Room…

glasgow1
Glasgow

inevitably it’s becoming a tad irritating being confined to barracks even if, as most of us are, artists are quite solitary.  So time to scrub about in the corners of projects forgotten or abandoned in some way.  So it is with the Rough Cartography.  An explanation (of sorts) for this one can be found here.  I’ve gathered the lot (well all those I bothered to take photos of) together in one place, fiddled with them digitally (who’d have imagined back in the 1970’s any of that malarkey would be possible) prepping them for a – yes a publication (something else that seemed damned difficult as well as expensive back then.

lands end

So The Map Room is in production now with a publication date set for early summer…betcha can’t wait!

In the Country of Lost Things…

Dancer's Air
Dancer’s Air, timber & acrylic, 2020

‘Lockdown’ is increasingly feeling like being inside of Auster‘s wonderful (and as it turns out prescient) novel.  And hereabouts I’m digging around in the tight spaces of those things either abandoned or discarded.  But every cloud etc.  So more Paintings Standing Up are mushrooming into life!

french toast
French Toast, Oil & acrylic on timber, 2020

Paintings Standing Up…

beetlebum
Beetlebum, wood offcuts & acrylic, 2020

The continuing ‘lockdown’ is probably sending a lot of us a tad nutty…certainly I’m bouncing around the studio playing with all sorts.  This includes my growing collection of Paintings Standing Up that developed out of an earlier series TFTLR (Tales From The Lumber Room).  These scrappy little constructions have been littering the studio for several years and over the past week or two I’ve dusted some off, given them some TLC and given them titles.  So there’s now a ‘body’ of work (well seven or eight) to put up online.  The first and second are here now…

stockadeboozing
Stockade Boozing,wood offcuts & acrylic, 2020

A more optimistic kind of picture…

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.

Onthemargin
On The Margin, acrylic on canvas, 66 x 85 cm. 2020

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.

Minervois?

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…

Between the H & HM
Between the Harvest and the Hunter’s Moon, acrylic on paper mounted on board, 104 x 31 cm. 2020

Stroll on…

niceday

and what a grand day to be doing so…hard to believe it’s still early February.  But we (being my pal Simon and myself) got stuck into the latest instalment of the seemingly endless task of visiting every place listed in the various District guides for the county of Leicestershire.  As it happens we haven’t yet completed Melton but a new year gets us out into Harborough (we polished off Charnwood some time back and I did NWLeics years ago).  The point of the exercise for me is to assemble a collection of small (40 x 50 cms.) paintings each representing, albeit very abstractly, every location visited.  For Simon it’s the photographs themselves and, as I’ve said here before, if you want top quality images his blog is where you should head off to!

Langtons

The paintings are invariably derived, very loosely, from crude collages of images taken on the journey.  So here we have one such…using two snaps made in Thorpe Langton, one of the Langton’s (there are five in all) in the Welland Valley.  Actually the Harborough project is a rather tricky blighter…the previous three guides elided the places on the map contained within the guide and the ‘biogs’ of places therein.  But this one doesn’t – some places are on the map but not discussed and vice versa.  What to do? choose one or the other or do the lot?  A question that won’t need resolution until I get around to the paintings stage and that will be a ways off as Charnwood still has 18 canvases awaiting completion whilst Melton still hasn’t got its full set of collages.

Meanwhile other picture making continues apace…another canvas from a newer series that has a putative title to be announced here soon…  This one is The Approach, acrylic on canvas, 80 x 55 cms.

The Approach.JPG