inevitably it’s becoming a tad irritating being confined to barracks even if, as most of us are, artists are quite solitary. So time to scrub about in the corners of projects forgotten or abandoned in some way. So it is with the Rough Cartography. An explanation (of sorts) for this one can be found here. I’ve gathered the lot (well all those I bothered to take photos of) together in one place, fiddled with them digitally (who’d have imagined back in the 1970’s any of that malarkey would be possible) prepping them for a – yes a publication (something else that seemed damned difficult as well as expensive back then.
So The Map Room is in production now with a publication date set for early summer…betcha can’t wait!
It’s been a while…since I last posted one of the Rough Cartography series. This is one of three OS maps that used to live on the walls of a department of the University of Sheffield. I think one of my friends rescued them from the bin for me. They were rolled up in one of the many cardboard tubes of stuff that is part of my ‘back end of 2018 tidy up’…and I’ve decided to give them a sprucing up and create a kind of Cornwall triptych. Nearly (gawd help us) twenty years back I was asked to give a talk to our Foundation students about sketchbooks and took quite a few along to the session. One of the questions was “why do you colour in so many maps”? I couldn’t rightly say then…nor now really!
My Rough Cartography series is such a long standing practice that it seems now just habitual. Wherever and whenever I’m somewhere away from home I pick up those freebie tourist maps and once back in the studio they are pasted into one of the sketch books. Over time…lots of it!…they are gradually painted in. Why I do it I’m not at all sure but the letter below maybe gives some kind of clue to it.
Dear old friend,
Today you would have reached pensionable age but, as things go, sadly you’re not here to celebrate. Later I will raise a silent glass for you. I remember back when we were still youngish men sitting and discussing making work, why we do it and what it means. You asked me about my peculiar habit of keeping scraps of maps in my sketchbooks and colouring them in…and us both laughing at my complete inability to explain any purpose behind it. Well I think I may be on my way to understanding now. Not bad eh, its only been thirty plus several years after all!
Its something (if I understand it properly) contained within an essay in the catalogue for Contemporary Masters From Britain – a show of 80 paintings touring China from the Priseman-Seabrook Collection. Dr. Judith Tucker suggests that painting retains a capacity to capture our attention precisely because of its materiality; its “sensuous, viscous quality” as she puts it. This is coupled in the essay with a notion of painting as “quasi-subject”; a site in which bodily experience of the artist in making the work is somehow a residue within this materiality. I think it may be at the very least something to do with these ideas that keep me, all these years later, fiddling with those damn maps.
I’m also dwelling on the good fortune that allows me to keep working and how, over time, opportunities present themselves through a myriad of circumstances. It’s in my mind because of the show just mentioned. Its been through recommendation (and I owe thanks to the talented Terry Greene for that) that I’m part of this exhibition. Other possibilities open up and suggest themselves too. I suspect that over the past decade or so you would have cemented your reputation not least because of the way in which your last works were opening up new avenues and directions. Amongst the many things I miss is the opportunity to have argued and wrestled with these ideas and outcomes that never happened.
With affection and remembrance,
More information on Paul Mason can be found on my blog on him here.
Contemporary Masters From Britain is available through Amazon. The show opens at the Yantai Art Museum on 7th July 2017 and runs till 3rd August before moving to Nanjing.
It’s difficult to post whilst one is on the move…especially when staying in charming, but very rural, French hotels where the wifi is quite fugitive. Although to be fair on this occasion of the thousand mile trek across Europe it worked pretty well and my absence online has been more a consequence of my mystery ankle injury. This has made walking quite difficult and more to the point made me tetchy and restless…and its that really has kept me away from my blog. I seem to be on the mend at last so I’m back!
Although my mobility is still a little restricted I’m getting on with some work. Plotting out the upcoming show at Harrington Mill ought to be taking precedence but as usual I can find plenty of other distractions to keep me from closing the deal. Alongside the large paper works that are concerned with woodlands I have the Playground Of The Midlands project, the ongoing Rough Cartography, more of the Wonky Geometry both on board and on paper, the 50’s Jazz pictures (quite a few of which need collecting from the recent outing at the Ashbourne Festival), the Lavanderia d’Italia, my Ragbags, lots of the TFTLR constructions and some related sculptural pieces! So hardly any wonder I struggle to focus on just one project at a time and it is hard to refute the notion that I’m always spreading my creative energies too thinly.
Like many other people in the UK I’m also totally perplexed and a little discomfited by the current political situation and tempted to give vent to my feelings here. However so much is being said by so many about it all (and most of it opinion and speculation) that I don’t see much point in adding to it. Nonetheless it is all adding to a terrible sense of turmoil and upheaval that certainly isn’t good for the soul. I pondered this recently whilst viewing Out Of Order, a large solo show by Michael Landy, currently at the Museum Tinguely in Basel. He’s an artist that I’ve rarely given any thought about…other than his famous Breakdown work (where, in case you don’t know, he destroyed all his possessions in a fortnight) and if I expected anything it was that it would be a ‘typical’ YBA stuffist show…lots of rather fey bits and bobs. In fact it turned out to be both a thoughtful and extraordinarily intelligent show with a lot of very accomplished ideas well executed. He had jumbled up work going back over twenty five or so years in a kind of warehouse landscape aesthetic lending a chaotic air to a body of work of real substance. Rather like Tinguely himself Landy uses this air of entropy to disguise much deeper feelings about values and our idea of worth. I came away with a great respect for an artist that operates in a diametrically opposite location to my own preoccupations.
And having had a day of looking at what Museum Tinguely and the three locations of the Basel Kunstmuseum had to offer I came away with little else that genuinely intrigued or challenged me. Of course there were plenty of examples of famous and not so famous works on display. They have, for example, some extraordinarily good examples of Picasso and plenty of big, and I do mean big in the case of Frank Stella, hitters from the post war period in the US. Maybe I’m jaded (yes let’s face it I am) but much of the ‘contemporary’ work of the past twenty or so years seems to be pale retreads of what came before. Sophisticated and polished perhaps (with the art market in mind of course) but without genuine feeling or emotion or even just that vague inchoate sense of discovery. And this sense of unease and numbness also infects my own creative process too.
Perhaps I just need to step away from it all. Whilst away I took this snap of a little drawing by Phil Thompson (owned by my friend with whom we were staying). Phil was a man of few words, I knew him mostly as the fella at the end of the public bar at the Griffin, but a terrifically talented artist when he minded to work. This tiny drawing owes a little something to the Circus pictures of Leger and others but is also quintessentially ‘Phil’. As we are often told history is written by the winners and art history is particularly cruel in that if the work is lost and destroyed then no amount of post hoc revision rehabilitates its quality. Over the past thirty or so years the self publicists and their pimps that have flooded the contemporary art market have ensured their initial longevity but not of course their place in the real history of art that only really forms a clear picture a century or two down the line. However I doubt Phil has any chance of posthumous recognition beyond the memories of those who knew him but we who do will continue to derive much pleasure from his work. So we take strength from that and keep on working.
So I must focus pretty quickly now on this sequence of pictures that use the idea of Wood as their central theme. For quite a few years I’ve been indebted to Simon Schama and his Landscape & Memory for some of my thinking about work. It was especially helpful to me whilst I undertook my major project for my photography Masters back in 2010. Now I’m back delving into section one and finding elements that resonate with the large paper panels that will be central to my installation at Harrington Mill in September. So far there are three completed, each with a quotation drawn from the text, though the images, as always with my work, are substantially intended to function away from the textual as much as hand in hand with it. Looking forward to completing the other fifteen panels that will make up the piece.