In praise of those passed…

Thomas Nozkowski Studio after his death…photo: Gabrielle Bhaskar, NYT

As one ages time does accelerate – my mother told me this years back but I didn’t believe her – I do now! So it’s hard to believe that one of my absolute faves of all time passed five years back…it seems to me only a few months back. But Thomas Nozkowski passed back on 9th May 2019. Although Thomas was only a generation older I adored his work and rather immodestly saw him as something of a fellow traveller. I am especially taken with the idea of original visual language for every picture made – its certainly my attempted MO when making those small paintings in my mammoth Heart Of Rural England series (currently becalmed in the Pleasant Country Aspect group (aka Harborough district). Although I suspect I often fail (as did Tom very very occasionally!).

David Manley Illston, Pleasant Country Aspect, Oil on board, 30 x 40 cms. 2024

I’m thinking of this whilst back in West Penwith tending to the wonderful Brisons Veor (although it will be a week or so back by the time of this post). My time here is limited, very much so, but precious. And being part of the project is very much so, not least as it facilitates others to experience its delights.

The marvel that is Brisons Veor, the last property on Cape Cornwall, with Priests Cove below it and the Atlantic beyond it!

And by a co-incidence today – 9th May is also the date of the passing of a very dear friend, one of my closest, back in 2006. Paul William Mason would have been 71 in a few weeks and he’s much missed. And to top it off today I got news of a professional colleague passing at far too young an age – Lucy Philips who was Director of Leicester Print Workshop whilst I was on the Board back in the last decade. Lucy was the brightest and best in a crowded field of great arts professionals I’ve worked with over the past fifty years.

Privilege…

I’ve just had an interview with Robert Priseman for his site. I’m feeling very honoured and rather privileged. As it happens the interviews he has collated feature many fine painters so I’m thinking I’m rather fortunate to be included.

Hortus Conclusus Scetis #4, oil on canvas, 60 x 50 cms. 2024

As it happens this coincides with the first of my new body of work – Hortus Fabulus – leaving the studio to go to Assembly (see my last post). The painting is shown above and – in what I think is a first for Contemporary British Painting group – online for prospective purchasers!

As always working out what is (and isn’t) ready to go is causing me some issues…but the studio has rather a lot ‘on the go’!

Assembly…

Another work is going out of the studio…a rather rare event nowadays…the text introducing the show is:

Assembly is a compelling & timely exhibition curated to reflect a new geography of contemporary art practice as artists shift their focus away from the capital. Members of the artist-led group Contemporary British Painting come together from across the UK & Ireland with invited artists from Rye & the surrounding counties. Rye is uniquely situated at the mid-point of the creative artery that extends along the South Coast from Brighton to Margate linking important public art institutions, independent, & artist-led venues. Assembly creates a platform for engagement & dialogue with an exciting range of artists whose energy, & significant & diverse histories of making, animate this exhibition.

I’m in a good (and large!) company of: Susan Absolon, David Ainley, Hermione Allsopp, Iain Andrews, Amanda Ansell, Tom Banks, Karl Bielik, Claudia Böse, Day Bowman, Marius von Brasch, Julian Brown, Lesley Bunch, Matthew Burrows, Ruth Calland, Simon Carter, Jules Clarke, Susan Collis, Deb Covell, Lucy Cox, Gordon Dalton, Pen Dalton, Angelina Davis, Jeff Dellow, Lisa Denyer, Natalie Dowse, Nathan Eastwood, Geraint Evans, Ros Faram, The Baron Gilvan, Susan Gunn, Susie Hamilton, Alex Hanna, Marcus Harvey, Jeb Haward, Vincent Hawkins, Roland Hicks, Suzanne Holtom, Marguerite Horner, Dan Howard-Birt, Barbara Howey, Phil Illingworth, Linda Ingham, Rich Jellyman, Patrick Jones, Peter Jones, Ansel Krut, Bryan Lavelle, Andrew Litten, David Lock, Juliette Losq, Paula MacArthur, David Manley, Enzo Marra, Gavin Maughfling, Donna Mclean, Monica Metsers, Nicholas Middleton, Ruth Murray, Paul Newman, Stephen Newton, Sikelela Owen, Nicholas Pace, Kim L Pace, Joe Packer, Eugene Palmer, Stephen Palmer, Aimée Parrott, Mandy Payne, Barbara Pierson, Ruth Philo, Alison Pilkington, Narbi Price, Freya Purdue, Alessandro Raho, Richard Mark Rawlins, Tobit Roche, Greg Rook, Katherine Russell, Boo Saville, Maggie Scott, Clare Shoosmith, Stephen Snoddy, David Sullivan, Geraldine Swayne, Harvey Taylor, Sally Taylor, Molly Thomson, Ehryn Torrell, Casper White, Joanna Whittle, Sean Williams, Sharon Wylde, and Caroline Yates – phew!

I shan’t be at the Opening as I’m travelling home from Cornwall that day but hope to be at the Finissage on 18 May…pop along and say hello! I am exhibiting one of my new oils on canvas from the Hortus Fabulis series.

Missing in action…

Broughton Astley, oil on canvas board, 30 x 40 cms. March 2024 from the Harborough leg (Pleasant Country Aspect) of the Heart of Rural England series

A week or two lost to a brain fog accompanied by a walking problem (dodgy left foot!) saw me go ‘missing in action’. Trying to get back on the path to glory!!

Kings Norton, oil on canvas board, 30 x 40 cms. March 2024 from the Harborough leg (Pleasant Country Aspect) of the Heart of Rural England series

Still pushing on with this series…of course I’ll need to get the walking sorted to get the project moving again…

Go figure?

Tusci (unfinished), oil on canvas, 120 x 100 cms. 2024 a new series of paintings based on observations of small enclosed gardens…

I pretty much gave up figuration after my ‘a’ level composition study and barring a couple years in the 80’s (don’t ask) never returned. Of course there’s no such thing as abstraction really but usually any referents are buried deep in my pictures. But of late there seems to be some hints creeping back in.

Frolesworth, oil on canvas board, 30 x 40 cms. March 2024 from the Harborough leg (Pleasant Country Aspect) of the Heart of Rural England series.

Boxes…

Regular readers – ok viewers then! – know I make little – what? pictures, sketches, doodles? call ’em what you want… And that these get worked on in the dark mornings of winter. There are several sizes, and this gallery is of the latest in the Festive Geo’s – mostly made around – yep you guessed – the festive season. Mind this latest batch stretch the point having been put to bed in the last few days (though at my age Christmas seems like only yesterday!),

Movin’ On…

Great Glen (Pleasant Country Aspect), oil on canvas board, 30 x 40 cms. 2024

Another of the Harborough paintings…don’t recall where the image of the folks was culled.

The Ones That (sort of) Got Away…

The Old Master’s Mountain, 40 x 30 cms. 2009

Like most painters there are paintings knocking around the studio that somehow have never been fully resolved, or don’t ‘fit’ into whatever ideas or notions are going through your head. Even someone like me who has consciously avoided a ‘style or consistency’ tends to group work into ‘sets’ of some sort. And these mostly coalesce into bodies of work.

Above the Old Master’s Orange Lake, oil on canvas, 30 x 40 cms. 2007

But then there are the oddities that haven’t quite ‘made it’. The Old Master’s Story is one such. I do recollect sending a couple to a show at a nearby gallery (the Beetroot’ in Draycott – now sadly closed) back in the early part of the last decade but otherwise the five completed, and the several very definitely not so, have languished in various studio locations since at least the mid nauties.

It’s not the only such group. Cold North was a group of six panels I produced to accompany my Epidemic! series (and both shown in the Angear Centre at Nottingham University’s Lakeside Arts Centre back in 2013) and a few years on I started a series of companion panels Hot South. Both were ‘portraits for’ conceits – in the first case of fictional Nordic detectives (Wallender, Hole, Sejer, Knutas, Erlendur, Beck) and in the second a corresponding group of Italian’s in the same vein. But that group has only got as far as five ‘tecs’ (Ferrara, Montalbano,Brunetti, Guarnaccia & Zen).

Zen, acrylic on reconstituted paper/cardboard, 98 x 48 cms. 2022

Zen of course is Dibden’s Aurelio Zen who I sometimes imagine as Michael Kitchen (he narrates the audio book editions wonderfully) but the painting is as always very divergent from the perceived source! I chose the substrate to reflect something of the chaotic and dyspeptic nature of the character…and it seems that – for once – I may be on the money as the latest NYC show roundup on HyperAllergic suggests cardboard is ‘in’ currently!

I’m not sure how or if some of these groups of works will ever be fully realised or will see the light of day away from the studio…but you never know…

Go on…

Occasionally I get asked to contribute to fundraisers. Being quite prolific (or so others tell me) and having a lot of work stored away as a result (because it doesn’t sell!) I try to help out if it seems a good cause.

Day’s Botany, acrylic on board, 30 x 30 cms.

This is certainly one of these: https://www.ebay.co.uk/itm/375076270589?mkcid=16&mkevt=1&mkrid=711-127632-2357-0&ssspo=gu_0ue2kr5g&sssrc=2047675&ssuid=gu_0ue2kr5g&widget_ver=artemis&media=COPY

The painting is a bit of a ‘one off’ though it shares a lot of its DNA with the little series Enid & Paul Visit New York City. And that series is a spin off from the larger Very Like Jazz body of work. Both of those groupings have been gathered into small books. Enid & Paul is a slim volume in the manner of a Ladybird book and I’d be very happy to throw in a copy of that publication to a purchaser of Day’s Botany. So let me know if you bid and buy!

Besides my work there’s plenty of stuff worthy of ones attention in the auction…take a look!

Keeping on…

Sometimes the sheer volume of painting being produced is overwhelming…perhaps its the advent of Social Media but it’s hard not to imagine that there are more painters at work than ever. I imagine I’m not alone in occasionally thinking why am I adding to this plethora of picturing. Of course we all want to think that our daubs are uniquely compelling and its probably that which keeps us at it.

This year I’ve tried to slow down the process though counting up I see I’ve made, in varying sizes, at least three dozen plus works, more than enough no doubt! And the Weatherland series has focussed attention on the passing of time and the ‘keeping on’ with one a month being ‘published’ through the year. I started out putting each month up retrospectively on Instagram but switched to the first of each month as I got ahead of myself. So here’s the complete set – 84 x 114 cms., acrylic and other media on paper.