in the past comprised a lot more activity and required a good deal more energy. Nowadays the spaces I have over the festive season allow for greater reflection and the opportunity to catch up on the production of work – in this case Osiris Hailed from what is now – fanfare – L’Histoire de L’Eau – well I gave section one of Landscape and Memory a title in German so now why not French? So I’m now 7 into this second of three sections with 7 or 8 more on the go. A big push post this holiday season & part two may be cracked. But of course that leaves an awful lot of other bodies of work up in the air…so I guess I need to get back to full fitness and, crucially, get my work plan back in place…but that sounds ‘orribly like New Year resolutions – and I hate them!
to have been part of the extraordinary adventure that was stimulated by, and masterminded by, Robert Priseman. I have Terry Greene to thank for suggesting I contact Robert over a year or so ago and beginning my own small part of what has been quite an amazing story.
It was the exchange of paintings, mine from the Very Like Jazz series and the gift of a lovely panel picture from Robert in return, that led to the invitation to be included in Contemporary Masters From Britain currently on show at Tianjin Academy of Fine Art having visited three other large Chinese venues since the summer. Tianjin is, apparently, the sixth largest city on the planet! and I’m ashamed to say that until recently I’d not even heard of it. Things in the world are changing fast it seems.
Being a part of this tour that ends in January is only a small part of being in the Priseman-Seabrook collection as it features on the Art UK website and is an on-going venture that unites a great many of our best painters. It’s been good to meet and get to know artists such as Lucy Cox, Freya Purdue and several others…and hopefully more in the future.
Its helped me over recent weeks as I’ve been feeling unwell and am still struggling with a (so far) mystery ailment that is severely restricting my productivity. Not least in keeping up this blog as well as getting on with my painting. I had hoped to end the year with at least two current bodies of work pretty much rounded off, but sadly they both have a way to go yet. So it goes.
Nonetheless the New Year already promises fresh opportunities. Firstly my good friends Jackie Berridge invited me to be a part of an exchange with artists in the Honfleur area of Northern France in April. As a long time fan of Boudin, a local boy made good, it was too good to miss. And another friend the excellent painter (and printmaker) Laine Tomkinson is putting on a show in Nottingham Make Colour Sing in May so much to look forward too.
well its been an interesting week…generally I make it a rule nowadays not to enter competitions. My only exceptions over the past decade has been the Moores (out of habituation, I’ve been doing it since the early 70’s) and the CBP because a goodly number of painters I respect have been party to this set up since it began around 2012. So it was something of a punt that I found myself entering and then – surprisingly – being short listed for the Threadneedle Prize for figurative art with a sculpture. Oh yes…quite a surprise for anyone who knows my work as being a) resolutely abstract and b) almost exclusively painting. It came about by capricious accident, my wife (a previous prizewinner in this same competition) was entering it one morning as the deadline approached and a tad mischievously suggested that one of my Paintings Standing Up (the series yet to be fully resolved) might pass muster as ‘figuration’. Well it was true that it was around the right height for a figure and that the violin mounted onto the ‘torso’ projected from it around the right angle for being played. Adding a dodecahedron on top and two boots below and…é viola you have The Fidler.
So being shortlisted required delivery to the Mall Galleries last Saturday morning, a round trip of 236 miles that went surprisingly well and, being a gloriously warm sunny day for late October, was augmented by a visit to Tate Modern. So far so good but, hey, not that surprisingly, a rejection followed on this past Thursday that, you’ve guessed it, meant another journey this Saturday. Not such a breeze as first the weather was wet, dark and greasy all the way down and secondly Regent Street was closed requiring a work around the centre of town to reach The Mall. This time we turned tail and headed back ‘ome straightaway. I’ve no complaints – you shouldn’t enter these things if you’re not prepared to be knocked back but, gawd, its been a bit knackering!
Oddly enough the trip to Tate was to take in the Ilya & Emilia Kabakov show – the central element of which (and that gives it the title) is Not Everyone Will Be Taken IntoThe Future…in this installation the ‘Art’ train is leaving the station carrying those works deemed ‘good enough’ whilst a heap of canvases etc. are left spilling over the platform…to which we might now add The Fidler!
Been ‘out of the loop’ for a while…but getting back in it. This is No. 31 of this series that aims to be around ten dozen in total…and there are over 60 of the unfinished ones sitting on the table in front of me right now.
As anyone reading this will know we are living for the month in a small bedsit on the harbour in Scalloway on the Shetlands and its proper lovely as we Devon folk say. In fact when the sun shines (and we’ve more good days than not) it reminds one of how the West Country seemed to be when I was a child. Nowadays the crowds down in Devon & Cornwall make it harder to love but back then before motorways etc. Anyway enough of my misremembering as, apart from sitting staring out the window or visiting unspoilt and empty beaches, we are here to work.
But the rub is that you start to think about what you do and how you go about it. Yes I know one should be doing that all the time anyway…but holidays just exacerbate this…and added to which there are fewer materials and supports to hand…and ideas get stuck in your head in ways that just don’t happen at home. Its all rather confusing! So here I am rethinking, tinkering really, with both the Wonky Geometry and the notion I had arrived with (outlined a few weeks back) and fetching up with something that’s quite a departure. Should I be worried or concerned?
Given that it has been raining cats & dogs for over eighteen hours now there’s plenty of opportunity to get on with the work! So I have at last finished at least one piece to my satisfaction. It derives its title from both the context in which it has been produced (on the waterfront here in Scalloway) and a poem by the late Peter Redgrove entitled On Losing One’s Black Dog. The view from our French Windows reminds me a little of the time when, albeit briefly, I knew Peter as a student at Falmouth where he was, luckily for us, the Complementary Studies tutor. He was very finely attuned to the Cornish environment and spoke eloquently and imaginatively about the ‘Black Dog’ in its several senses, one of which (not the one referred to directly in the poem) concerned the melancholia that descends on all things Cornish in the winter months. After today’s performance here (see photo below) during August one can only imagine what mid-winter brings to the folk here on Shetland!
at least that’s what we’ve been taught to believe. But its a well kept secret that there is great weather to be had up here in Scalloway. Certainly over these past two (first) days of our adventure over the month of August. So far its been azure blue skies and full on sunshine. The Met Office has officially confirmed that Shetland had more hours of sunshine than Cornwall in July and so far August is following suit.
Not that we’ve been idle…the studio has been tidied and arranged to suit our purposes…and the beginnings of work underway – despite the absurdly wonderful context if you step through the doorway!