Nobody much writes about the long slow slog that most painters experience. I know some – Sidney Nolan was one such – can work at a lick to completion. I’m not one. I wrote before the festive season about completing pieces ahead of the break. And naturally enough failed with several I had hoped would now be behind me. Picking up the plot at this distance (an extra two week gap whilst we were in Cornwall) is a bit of a slog.
This has been both studio and living space for the past fortnight. It’s good light, a decent workable wall and a reasonably generous desk. In most respects it works well. There is a sizeable drawback…what the comfy chairs don’t reveal is the view, through the open doorway, and from the window in front of the desk. It looks like this sometimes,
and like this at others…
and has many more moods to show you. Yes I have made some paintings, none fully resolved, but my often glacial progress would be even more dilatory if I ‘worked’ here often. Sadly tomorrow I’m off home to my normal environs!
So it begins…2019 that is and, courtesy of our extended stay here on Cape Cornwall, it will be over before I get going at the pace it’s setting so far. How does time speed up as one ages? Not that I’ve been idle – posting is a bit of a lottery however dependent on a hazy purchased wifi ‘hotspot’ – as these studio images can testify.
And if it all seems a bit glacial that maybe because quite a lot of time is spent keeping our eyes peeled on the Atlantic to catch glimpses of the pod of dolphins that seem to be about these parts of late…and I’m sorry that my mobile isn’t up to giving you the view we’ve seen!
Numbers 57 through 64…been a decent couple of weeks for completions…aiming to finish up a few more to fill out Box Two. Mind that will need me to pick up the resolution rate as I need to get through to ninety! Had been hoping to have two filled by the end of the year…looking a tad ambitious now though you never know?
I watched Picasso’s Last Stand the other evening…he never got up in the mornings they said. Me I don’t sleep so well nowadays so now the days are longer I rather enjoy the early start. As it happens too I’m now using a wall that gets the early morning sun. Add in listening to A Rainbow In Curved Air (on my original vinyl copy) and it doesn’t get much better. And it helps with the productivity – in the past two days I finished up three more of the L’Histoire De L’Eau gang. Here’s Ditties For Her Majesty…referencing the first Elizabeth rather than the current one…
Sometimes it just gets going…and what a good thing too, or I doubt I’d bother. But just occasionally I get started on some new pieces and everything seems to jog along pretty well. So it is with the Rock pieces, third part of the Landscape & Memory project.
Of course tomorrow morning it may all turn to dust, that happens just as regularly!
Still as the light fades (and today was proper Spring until four this afternoon) I’ve these three plus five others that have seemingly got something I can work with. Tomorrow I’m out and about but it will be interesting to return to the studio first thing just to see how I feel about them…
back at work…though I’m still not entirely well but good enough to give some attention to the various bodies of work I have on the go at present. I’ve written before of how I’m pathologically incapable of focussing on one thing at a time. And so I just looked back through these pages to see when I last mentioned the Water series. These are following on from the Waldgeschitchen series and will comprise the second group of three such works that will make up my musings on Simon Schama’s Landscape & Memory. It was way back in February – so at this rate of progress this project may outlast its creator! Still over the past few hours I’ve completed the sixth of this second group of eighteen.
So I’m trying to ‘put in the hours’ as one of my colleagues used to say to me when I was pressing him about spending more time teaching rather than making – and he was right there really is no substitute for being in the space and getting on with it if you want good outcomes.
It always intrigues me as to how others go about the disciplining of their practice, after all you read often about how, for example, Henry Moore, had a very defined studio routine and how legendary is the amount of time, say, Frank Auerbach spends in his room and it’s easy to see with some artists output that they must have been very focussed and hard working. Then again we all know those who do rather little but it goes a very long way indeed…