A very beautiful morning lulling the unwary into thinking Spring is here…but March & April may yet have some nasty surprises in store. Nonetheless time to get out and about albeit within the very narrow confines of walking distances from the house. That took me to an old favourite, Stand 32, on the banks of the Soar just before the lane that leads back to Sutton Bonington and homeward. I’ve been photographing this very spot for over twenty years now – so much so that the Long Eaton Anglers have re-designated the competition numbers twice more in that time so that many of the originals have been obliterated…but the 32 survives (alongside a 61, though that too – I think – has been superseded by a newer set of yellow numbers). Still it was a glorious morning…and – a first – an actual angler just a few metres on, in all my previous shots the only people ever visible were one or two on a boat…
how things collide in your head during this isolation (I’m still too frit to properly venture out) especially as contacts with others is confined. So just as I begin sorting out the next substantial project – based on Alexandra Harris’ Weatherland – I find its concerns reverberating in my thinking with Chapter Three of Jeff Young’s Ghost Town. I’d spent a good deal of a day sifting through the former arranging a series of quotations by others that Harris had used to be the framework on which my series will hang. Literally insofar as they are ranged around the perimeter of the canvases I’m intending. And then this very morning I find Jeff musing on the importance of weather…”The weather is memory and memory is the weather. It seeps into this place, becomes layered into it. The meteorology of memory.” And whilst I had been attracted to a brief passage from the introduction to Weatherland as the title of my sequence “I have tried to hang a mirror in the sky” my wife pointed out its connection to a title I have used before ‘Nothing But Mirrors And Tides’ (that stolen from Anne Michaels wonderful Fugitive Pieces for a solo show at Derby Museum nearly two decades back) and I’d already thought it perhaps overlong. And now – glory be – it seems that not only have I a marvellous title ‘The Meteorology Of Memory’ but those few words also crystallise the core of my thinking behind these paintings.
Because unlike the three series that comprised the reflections on Schama’s Landscape & Memory (Waldgeschichten, L’Histoire de L’Eau and Rock Of Ages) where the impulses for the form of each work preceded and then ran alongside the textual content here I have zoomed in on the texts (setting them in a framework of the months of the year) and hope to evoke memories, form, colours and reflections of each month as it unfolds. At least in the conception of the work as a whole because, unlike my normal way of working, I intend to make a sketch or cartoon (if you wish!) for each painting before making the full size work. Within this sits another secret source of imagery drawn both from my own reservoir of images and ones stolen from other observers of the world around them…something that has become so easy since the advent of the digital when everyone is a photographer of some (albeit) occasional distinction.
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!
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.
right here…Hazlewood Marshes on the Alde just outside Aldeburgh in Suffolk. It helped to have a sunset of that intensity on 10th January of course! We love opportunities to get away to the coast, quite a hike for us here in the centre of the country. And though it rather gets in the way of making work the chance to relax and enjoy such a location is much appreciated. However it’s also the case that just occasionally here and there as one wanders about you see things that will impact on the making of paintings. So it was on this trip.
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!
The trip to Gdansk was exceptional for many reasons. Chiefly perhaps that it was so unexpected and unplanned. The marvellous and enterprising Robert Priseman must take the credit for organising the Made In Britain show drawn from his (and Ally Seabrook‘s) collection that propelled the decision to take a visit to the city. Although I only have a very modest ‘walk on’ part in the event going over seemed like a no brainer.
The show itself looked very handsome. And hopefully my picture didn’t let the side down, settled on the wall, between Lucy Cox and Stephen Snoddy – so at the least it was in good quality company. The collection is full of excellent work, both figurative and abstract, with both a smattering of famous names (I doubt my work will ever be nestled so near to Alan Davie‘s, one of my teenage idols!) and good representation from many of us regionally based painters as well as, inevitably, many from the capital). There are many that I rate very highly and several I know well.
On the floor above there was a smaller grouping of artists from the collection, where a grouping of works allowed more in depth study. Robert was amongst them with a group of portrait studies that looked very handsome, their meticulous considered style suiting the juxtaposition with the Judith Tucker works opposite; both in black and white but showing how material, handling, and facture as well as subject matter can provide figuration with many moods and responses.
David Ainley, is a friend (disclaimer) but his fastidious and controlled abstractions build over time to something quite transcendental and luminous that I believe show immense quality. James Quin is an artist I’d not previously seen but I loved both his picture in the collection and his reflections on Las Meninas that made up his contribution to the upper floor show. A different approach to Ainley but an equally intense luminosity to the work. I’m guessing that – perhaps – James will be represented in the forthcoming Enough Is Definitely Enough if not he jolly well ought to be!
What of Gdansk itself? Well it was one of the worst hit places in WW2, indeed it was the location of the commencement of that ghastly conflict and is now home to the huge and monumental museum dedicated to it. As a consequence much of the centre of the city is rebuilt but contrary to what might be expected of somewhere that has spent much of its post war within the ‘Iron Curtain’ it has been (and as far as one could deduce continues to be) done with great sympathy for its longer term heritage – particularly its role in the Hanseatic League.
Of course driving out to the coast (Gdansk is the south side of the ‘Tri-City’ that also comprises Sopot and Gdynia) the soviet era concrete apartment blocks begin to appear but then they too are subsumed into a more vernacular architecture that in Sopot spoke to me at least of seaside grandeur across much of Europe (though here much less faded than to the west).
So Gdansk turns out to be quite an experience – the centre a thriving and bustling place with many interesting and lively tourist attractions and an excellent cuisine (our particular recommendation is Bowke) but of course Poland is still a relatively poor central European country. Perhaps it was that aspect that led me to choose to photograph it in B&W so here is the centre of Old Town in full colour that I imagine is how the tourist industry wants it to be seen!
I imagine there might be a few grumbles amongst the sculpture fraternity that Sean Scully is showing sculpture (with paintings, prints, drawings and photographs) up at the Yorkshire Sculpture Park. After all his reputation rests mainly on his body of paintings made over the past half century. But its quite a coup for the place nonetheless as Scully is surely one of the biggest beasts to have shown there over the years. Its well worth a visit as it is showing concurrently with Giuseppe Penone, another ‘big beast’ of the Arte Povera group making YSP quite a classy destination at present.
And it gave me pause for thought that – by and large – the work as a whole showed off Scully’s talents and clear sighted approach to great effect. Its the latter characteristic that got me thinking. Right from the get go Scully has gone after his objective of making relevant abstract paintings for our time. His early work utilised grids at a time when they were much in vogue, but drawing upon observations and feelings of things seen in the world, progressed to a more closed, indeed sealed in, disposition whilst billeted (for the most part) in late seventies NYC before breaking out into an art that is abstract but routed so firmly in the emotional and geophysical that he can rightly claim that they are not abstract at all. Like most of us of pensionable age he is now in a furious race against time with so much to do aesthetically and inevitably a closing door in which to do it! The sculptures have come along in recent years and, as he was at pains to point out in his lecture, have been conceived and executed with the same lucidity as his other work. They are in effect paintings in three dimensions with the materiality being the main spring of their presence in the world. He also stressed the vital importance of truth to material in these works – that also got me thinking. Take Moor Shadow Stack – my pal Paul (who knows a thing or two about installing big works!) and myself were speculating earlier in the day that the piece must have been constructed of carefully engineered hollow slabs but his talk made such a play of the material quality being informed by its solidity that I’m now convinced that all the sculptures on show were solid objects (either that or he’s damn clever at convincing me!).
If I have minor concerns (and they are so) then it is firstly in the sighting of Crate Of Air, a monumental piece, that I felt was a little cramped in its placing. Ideally it would dominate the lower lawn facing the lake in my opinion. Mind that would have involved relocating the Caro that I suspect the heroic installation team might have cavilled at given the scale of the undertaking. My other niggle is the surface quality of the paintings. Like most I’ve seen in the past five or ten years they are made on sheet aluminium using (what I think) is a proprietary aluminium primer that allows the luscious quality of the oil to sit on top. This gives the work in some light (particularly pale grey Yorkshire autumn light) rather a pasty sheen that I’m not so sure about.
However these are very minor issues (for me, let alone anyone else) and the paintings looked wonderful in the big open space of the Longside Gallery. Several of those on show I’m fairly sure had come from his 2015 and 2017 Chaim & Read shows (that by good fortune I happened to see) – the big multi panel painting Blue Note certainly was central to the Wall Of Light Cubed exhibition. The opportunity to see it alongside other works and set against the sculptural works in a generous space (everything being a bit cramped in Chelsea) was a real treat!
it’s often in the detail that you get a proper idea of what something is about. I was re-reading my friend Andrew Bracey‘s excellent catalogue for his detail exhibition where he quotes the painter Malcolm Morley saying that it was in the detail, very close detail indeed that the energy of the painting resided. Maybe its so…I just started out on the Rock sub set of my Landscape & Memory series…and thought it would be interesting – at the early stage of each of the eighteen works – to take a detail from each. What it tells me who knows…but anyway I’m studying them nonetheless.
Besides getting on with this project – I’ve set myself a deadline of Christmas to have the lot completed – I’m also setting a harder deadline for the Playground Of The Midlands sub project (the Charnwood leg of the Leicestershire set that began years back with the From The Earth Wealth (aka North West Leics) group. The third leg of this one – Painting The Town Red, the Melton district – got started at a lick last Spring and then fizzled out towards the end of May. So yesterday myself and my partner in crime Simon rebooted and got over to Bottesford, the most northerly outpost, to begin the task of completing the set. It has to be admitted that as we plough through what will end up being over two hundred plus settlements across the county it gets harder to find distinctive features in the many sleepy small villages we encounter! As often mentioned before head over to Simon’s blog for the decent photos – me I settle for tatty aide memoires for what will become the paintings. So above is a photo from Bottesford…and below the painting that resulted from a trip, quite a long time back now, to Hathern.
It has been my privilege to have known some great artists, some recognised and others less so, and I’ve worked with many on a variety of projects. No I didn’t know Ken Dodd who sadly died recently but I do know the wonderful photographer Richard Sadler (known to many as ‘the man who shot Weegee’). Some years back I put together a book of Richard’s b&w photos that featured a selection of images of ‘Doddy’ and, given the mischievous characters of both the sitter and the photographer, it’s no surprise that they are amongst the best representations of the comedian. So much so that one is represented in the National Portrait Gallery.
An amusing byproduct (at least it tickled me) of our adventures in Scalloway has been my ‘body series). Occasioned initially by the ominous floating glove that had attached itself to a clump of weed that – because of the good weather – didn’t move from beneath our window above the harbour. It then became obligatory wherever we went to spot gloves and the odd boot that had fetched up in the water or along the shoreline and take a picture.
These were then doctored to add the body that was attached. Over time fifteen of these pictures emerged and were we to have gone searching I don’t doubt more would have done so. Of course around a working harbour like Scalloway its inevitable that a few go missing occasionally. But there’s a more serious side to it as the locations tended to be those where the general flotsam and jetsam gathered. So take a look at what’s there and you see just what is filling up our oceans… Every one of the seemingly pristine beaches has its pile of detritus washed up from the sea (that is collected up to keep them looking that way) and its becoming a major global problem. So much so that my nonsense could in time to come turn out to have been prophetic…unless the upbeat elements of this Telegraph report are right.