For some reason I cannot title the image directly underneath anymore (thanks WordPress!). But this is a reworking of one of my many Map pictures that never got resolved and I’ve titled it GBloodyseven in the context of it being an OS map of West Penwith with the site of the G7 event picked out in the composition of it (acrylic on map, 90 x 101 cm.). I did it this morning reflecting on the fact that these people see themselves as ‘Global’ leaders…even though they represent only around 10% of the global population (though with around 60% of its wealth). Looking at them lording it round Carbis Bay it made me think that they were the perfect examples of ‘never put in charge anybody who wants to be in charge’!
For the past few years I’ve been pushing at more complexity in my paintings…but its hard going.I doff my proverbial to artists like Biggs & Collings or John Bunker (and quite a few others) who manage it.For one thing of course one wants clarity in the complexity but its hard to achieve.And this thought was brought back to the front of my mind this morning as news was passed onto me of the announcement of the Prime Minister’s resignation.Amongst the many things that will be said about it in the media the complexity of it all will be pretty much passed over I imagine.Partly because the ‘issue’ is completely polarised now and partly because that’s only how the media can cope with it – they hate complex and really only want to deal in binary choices, hence the endless parade of for and against commentators rather than – what they would see as boring and tedious – carefully considered and thus intelligent analysis weighing up all the issues on all sides.And to be fair that’s probably what much of us want to see and hear, just a row between the right way (ours of course) and the wrong (anybody who isn’t squarely in line with our thoughts).Anyway enough of that – back to the painting.One thing that’s for sure in the painting the resolution of the complex is very multifaceted.Besides the things one decides not to revise or revisit (for example the initial choice of support, though that can be fiddled with too) if form, colour, surface, media are all up for grabs then variances become trickier and trickier to deal with and, for me at least, the processes are exceedingly long winded and laborious.Maybe that notion suggests that the politics too will be with us for a great deal longer…
or a series of such…Rock of Ages – the third and final part of the Landscape & Memory project. This one Savoy by Walpole is probably nearer the first part of the whole work, the Waldgeschichten part than most of the other seventeen (each of the three parts comprise 18 individual works).
At least for the moment as this one is only the fourth to be completed in this last group. Some kind of fundamental underpinning to what one does seems all the more important as the external world gets crazier by the day and appears to be spiralling towards nasty intolerance, authoritarianism and worse. On top of the rest of it came news today of the passing of Thomas Nozkowski – a painter for whom I have had immense fondness for over twenty five years. It’s nigh on impossible to figure out how to respond to these things for the best.
Well time to stick our fingers in our ears…and hope the news (wherever its coming from it seems) goes away… I’m picking out pieces from projects that really need pushing on…like Playground Of The Midlands… So I give you South Croxton.
Doubt anyone out there will recognise it..though the last time I said that (about Quorn I recall) someone knew exactly where I picked up the imagery. So you never know. I wonder how many remainers there were out in South Croxton – you would likely only need one hand!
I rarely comment on matters other than painting here but…given the ‘significance’ of today I’m venturing briefly into other territory.Back in 2013 I curated an exhibition I titled ‘fotografische werk’(german meaning ‘photographic factory’). It was first exhibited at the Harrington Mill Studios, an artists space set up by Jackie & Jem Burridge in 2008, in an old textiles factory in Long Eaton, Nottingham, UK
It was one of five group shows in the 2013 programme at the Mill Studios in which I chose to place an aspect of my working practice into the wider context of activity in that medium or discipline.In thinking of my photographic pieces I was struck by the fact of most of them had only ever been exhibited outside of the UK – most in other, various parts of Europe.My introductory text said:
“The European dimension seemed important back in the winter when I began planning…now it seems to be everywhere.Indeed the whole European project is on fire, not only here in the UK (where it seems to have become quite unhinged) but across the continent as a whole.By bringing together artists from far flung parts of it I hoped to show a certain kind of solidarity, a sense of camaraderie and collective aspiration that had, one believed, become a solid and enduring feature of current art activity.Now maybe we cannot be so sure, and it’s not too fanciful to see this show as a defiant gesture, a stubborn refusal to accept a gathering orthodoxy.
We forget how far we’ve come – when I first took work to Germany back in the late 1970s we filled out nine separate pieces of triplicate paperwork and had the consignment custom sealed four times!Now I simply load up the boot and turn on the ignition – and needn’t stop till I reach Stockholm, Porto or Prague.That’s the practical aspect but its the connectivity and shared interests and aspirations that I find most inspirational.In my adult lifetime I have been privileged to experience and understand how much we have in common with one another right across our continent and to share ideas about art and life with people that a generation or two ago most likely I would never have met.
And yet, there are questions a plenty in the work on show about where Europe is and what it means to be a part of it.This is a group only in the sense that I am connected, in one way or another, to each of the participants.But all the work shown here has, I think, shared particularities.Firstly there is a definite and abiding passion for individuality, our own place in time and space, and secondly oblique references abound to environment concerns.Other than that I leave you to decide on meanings.”
If our relationship with the rest of the continent seemed ‘unhinged’ back then…I struggle to work out how I might characterise it now!As we all know today is the day we were due to leave the European Union.It might, or might not, have meant unimaginable changes to what I’d written back then…and may yet?Of course I was blissfully unaware then that such a thing could even be conceivable.There were constant rumblings about it at the time but they were for many of us a third or fourth order concern and about as likely as England winning the World Cup or some such.Even when I canvassed in the 2015 election nobody, repeat nobody of the 200 or so households I spoke to raised ‘Europe’ as an issue.But then Cameron’s surprise win catapulted us into a binary vote on whether or not to ‘leave’ Europe (indisputably an impossibility!) and a ‘majority’ of the UK decided to do it.May translated this narrow result (51.89 to 48.11) into the ‘will of the people’ an impressive ‘fake news’ when nearly 28% of the electorate didn’t even participate and so the actual margin of victory for leave was c. 2.7% of all those eligible. She continues – even as I write – to bludgeon the UK with my way or nowt.
But it’s unfair simply to tar her with the ‘fake news’ brush…after all everything on pretty much both sides of the argument has been pushed into the binary yes or no.Even had we left at 23:00 this evening I’m fairly certain the morning after would have been little different from today.As someone who voted remain it would have left a nasty ideological taste in my mouth and I’m certain that over the middle distance costs and inconveniences would rise (my betting is that however and whatever ‘outcome’ is achieved this will happen anyway).But the more dire predictions of us ‘remoaners’ are pretty ridiculous and about as much so as the equally inane indifference and complacency of the ‘arch brexiteers’ (although the richer you are the easier to insulate yourself against the costs and inconveniences).In any event my hunch is that far from being momentous and defining as the media have it whatever happens over the coming weeks, months and years (as I think we have plenty more of this to come) it will fast pass into another footnote in history and mercifully one that occasioned a lot less destruction than many others concerning continental matters.
All that said the next time I’m tempted to freight some work into or out of mainland Europe I’ll be awaiting the possibility of the triplicate forms, the custom seal, checks and delays…just like the ‘good old days’!
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!
“their judgement of artwork may be faulty”…Many, many moons ago I worked in an art gallery, and the Director (just returned from NYC) gave me a piece of paper. Its here now…
Although it was written (gawd help us) nearly forty years back much of it, despite the many changes in the art world, still stands. It was the dealer Ivan Karp who, having had enough of artists pestering him, wrote it to stem the flow. Goodness knows what he’d make of today’s art market. But its that last sentence that resonates with me right now. And what stands for dealers and gallerists and curators (what vulgar, squalid words they are!) equally stands for judges in competitions. I know many of them are artists too, but generally they are those whose primary objective is not making work but ‘networking’ and ‘brown nosing’ the aforementioned thus rendering their judgment equally faulty. Its in my mind as yet another competition has passed me by…or not (as I’ve observed of late, that many of these exercises in fleecing artists of their meagre funds, they often ‘extend’ deadlines to pull in yet more gullible punters) and I marvel at the plausibilty of all of us – I’m not immune as I, albeit occasionally, do it myself – in falling for the lure of bright lights and associated fame promised by the tiny odds of success.
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.
Imagine its around 1420 and a ship is sailing north, away from the leading Hanseatic League port of Bergen, having left Bremen or Hamburg some time ago, and making for Hillswick, its destination to trade goods for salted fish, lamb and skins. Although on the last leg of its long journey it espies rough weather from the west and puts into the natural harbour of Schaldewage or Scalloway as we now know it. At that time the place is part of the Norse rule of the Islands, in fact it is only a couple miles south of Tingaholm, the Thing, where laws are debated and enforced. Until a century and a half later when Earl Robert Stewart moves it to the town, where twenty or so years on his son Patrick Stewart (presumably before becoming ‘Professor Charles Xavier’ or Jean Luc Picard – ha ha) builds his spanking new castle in the ‘town’ and the ‘ancient capital’ of the Islands. The town sits on the bottom end of the Nesting Fault, a splay of the Walls Boundary Fault, itself possibly connected to the great Glen Fault.
So The Booth is situated in an immensely rich and interesting location. Literally on the edge of the fault, the Castle a few yards away, the water of the harbour right below our window. Do learning about any of these things influence the production of abstract paintings I wonder? I’m just one of many artists who occasionally talk airily about ‘a sense of place’…but what does it actually mean? I’m ploughing my way, painfully slowly, through Mary Jacobus’s Reading Cy Twombly (its a very rich and rewarding book but requires a great deal of contextual understandings!) and she quotes from Shelley “Naught may endure but mutability” in regard to Twombly’s Letter of Resignation. The line has resonances for me every time I look up and out into the harbour and the ocean road beyond it…the sea and its ever changing moods and cadences. And perhaps its that, more than anything, that creates ‘a sense of place’.
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!