I can’t really explain why this seems important right now but it does. So I’m reading a good deal, mainly poetry (of which I have a pretty decent, if rather ancient for the most part, collection). When a fragment takes my fancy and fits with the emerging form of the painting I’m working on (as usual there are several on the go) then it is plucked from it’s context and put to work around the edges.
Slow Music, acrylic on canvas, 65.5 x 55 cms., September 2019
How the originator might feel I do not know, but for the most part, so far, those chosen have shuffled off this mortal coil. In Tomas Tranströmer‘s case some four years back but I like to think he wouldn’t have minded too much…
Me, not him, of course (though who knows). So three days away under big big skies in Lincolnshire between Louth and the Coast at Theddlethorpe with weather that, though cold (and nowhere near as its sometimes been) behaved itself well enough.
And no painting going on. But Saturday was Record Store Day and being near Louth I thought to go to Off The Beaten Tracks – that would have been fun…except for the big queue awaiting me! So not the only vinyl junkie around then.
With wife and friend and Mindy dog patiently waiting my return I decided to give it a miss. Instead we took to the coast with good results until we hit Chapel St. Leonards where the dark clouds gathered and we head back in land to Alford. Being Saturday afternoon most of the shops here (independent traders) had closed up but Lee’s Music Store was open. Oh deep joy, no lengthy queue outside or in (only one other customer looking for DVDs. Picked up this one, alongside a Joan Armatrading & Dexys, the former the first one of hers I’d never purchased, the latter one I had but disappeared down the ages. I know its not one of his best but its one I never owned on vinyl (I bought quite a few through the late 70’s to 90’s on cassette or CD) and the condition is excellent. So got a fix and at very good prices. Tip top trip!
I Felt The Chill Before The Winter Came, Acrylic on Linen, 15 x 15 cm., 2018
Some ways back (around 2006/7) I began making very small pictures by making the odd mark on tiny shop bought stretchers and having them lie around the studio whilst I got on with bigger jobbies. A little triptych of them sold on our expedition to the ‘Supermarket’ in Sweden in 2010, you can see me pontificating at the event here. Over the past two years all my other series have rather overwhelmed these but I’m now enjoying ‘tickling up’ a few more. Its a good way of freeing yourself up whilst in the studio when things don’t seem quite ‘right’. I took to giving them names of tracks on my iPod beginning with ‘I’.
Thurcaston – Playground Of The Midlands, Oil on canvas, 30 x 40 cm. 2017
People are crazy and times are strange I’m locked in tight, I’m out of range I used to care, but things have changed
So his Royal Bobness fetched up in Nottingham for the first time (I think) since 1966…opening up his set with these particularly pertinent lyrics – at least for yours truly. Maybe (mostly) its a consequence of my age but they seem to sum up our ridiculous and crazy world. How we can be sleep walking towards totalitarianism across the western world I really don’t know – just shows how seventy plus years of stability makes people (or rather a lot of them) complacent I guess. We can only hope that once things start getting seriously askew they may wake up.
And Bob has also changed everything, not least the tempo, tone and even the melodies of some of his best known songs alongside those many more recent and less well known ditties (a solid bunch off the Tempest album). But it was a decent show, house lights down on the dot of eight pm. and an hour and forty minutes of non-stop boogie, hard rock and some alarming crooning! But Bob always goes his own way and as one of these standards said ‘Why Try To Change Me Now’? So I kind of appreciate this bobbing and weaving to keep the audiences guessing.
I’m flitting between bodies of work in my painting too. As is by now well known to any followers of these ramblings I don’t do a ‘signature’ style but address each set of pictures in whatever manner seems to me to suit the occasion. Its especially messy right now. In one corner sits the canvas pieces for the Lavanderia series, in another the lumps and bumps of my Paintings Standing Up. Over on one wall another in the extending series of Very Like Jazz whilst right here is another of the twenty five or so small oils in the Charnwood series Playground Of The Midlands. Up on the balcony are the Water paintings (the second part of the Wood, Water & Rock pictures that take their cue from Schama’s Landscape & Memory). And somewhere at the back a small panel collection provisionally titled The Rigged Deck. Of course there’s also the painting of maps, the Wonky Geometries and the RagBags that just chug along forever. So who am I to call the world crazy!
and Dat Dere, as seen above. Another in the Very Like Jazz series. Oddly enough over fifteen or more years back I titled another painting the same (one of a series called Blue Note 45’s). This time around its taken directly from dear old Cannonball Adderley rather than chosen, fairly randomly from a couple of Blue Note singles compilations. I’m nearly out of panels for these now…so with two larger, and one 30 x 30 (as this is) that will be it for a while. The penultimate 30 x 30 is this one…titled after the first track on Mingus, Mingus, Mingus, Mingus, Mingus an album from 1963 by – surprisingly enough – old Charles Mingus. II BS is titled thus because the man was finding it hard to choose a suitable title ( so two b.s. it was!). I’m getting to the point where I can empathise with him…
Sevens Autumn Store, 72 x 48 cm., acrylic on aluminium, 2017
it (the making) is something I’ve not thought about for, oh, about thirty five years or more. I do recall being concerned that it might be happening to the large paper panel pieces I was making in 1980 as I was also fretting over the use of fibre glass to back them (it was the coughing up blood that finally persuaded me to abandon that idea!). But earlier today I was working on my Paintings Standing Up (still far too early to post here yet) and realised that I had put several vocal performance albums to accompany the activity. I’ve written before that when painting I normally only listen to instrumental music and it got me to thinking why did moving into 3D suggest I could make the change? Did I value the work less, did it require less focus?, is it a different order of thinking? Sitting making some more components for these new pieces it struck me that perhaps my ongoing feeling of dissatisfaction with much of my recent painting process (rather than the pictures themselves) comes from over thinking them. As a young painter I’d just crack on with the work but over the years I’ve taken to thinking hard about each stage of the process – even those parts of it that are intuitive or seemingly random have gone through a deal of soul searching. Enough already methinks…from now on I’ll put on whatever tunes I damn well like and try to actually enjoy painting!
Six Mile High, 72 x 48 cm., acrylic on aluminium, 2017
In any event, as is my habituation, I’m stepping away from the Geo series for a bit. The two above are the most recent, whilst three of the earlier pieces are slated for exhibition at The Crypt in Marylebone soonish. Invite below, get along there if you get the chance.
And no painting going on. But Saturday was 
