Gratefully…

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.

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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…

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Exciting Times

The first exhibition of the new season at Harrington Mill Studios has just been installed.   I’m curating this years programme which is one of my pleasures in life alongside making work and teaching.  I love working with other artists whose work I enjoy and getting the opportunity to bring differing bodies of work together or as in this case help an artist to shape their show.

DPP07DC04100A3002Although I’m excited about the whole programme (and think we have some interesting and vibrant work coming up – link here) I am especially pleased about the exhibition that I’m calling The Discipline of Painting. This is a tongue in cheek reference back to the show The Indiscipline of Painting that toured the UK a year or two back and will focus on the abiding passion that some artists have for formal abstraction.

 

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I have taken a painting of mine from 1973 (!) called Yellowgate and used it as a pivot for work through the intervening forty years that shares a certain intensity for form and colour.  Amongst the exhibitors I’m delighted that a young artist Lauri Hopkins has agreed to show some of her book works – an ingenious take on formal abstraction.

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