Thursday, October 18, 2018

MORE ABSTRACTS

The first version of the construction Entrance to the Temple was a painting in acrylic on paper.

Working in a non-objective manner - ie not depicting any familiar objects - is a process I've always found fascinating even if I never, unlike some artists I highly admire, took the radical decision to give up representation altogether. I might still do that, time permitting. What is representation anyway? All in the eye of.

The interesting thing I've noticed is that my mind goes into a completely different place when working in an abstract, as opposed to a figurative manner. Maybe a left brain/right brain shift but there is definitely a change in perception. Obviously every artist will have different experiences but for me, making an abstract work is more like digging in the earth or deep-sea diving to uncover some pre-existing thing than looking and interpreting what my eye sees.

Entrance to the temple, first version. Acrylic on paper (52 x 67 cms
Another abstract....though it has definite subject matter for me, music in this case. I had a studio in Belsham Street, Hackney, at the time and for some reason I can't remember, I cut off the left-hand section of this canvas. It was a stupid decision. A snapshot remains of it hanging in the studio before my auto-vandalism. I still like this painting as it is now (first photo).

Music of Love. 1994 Oil on canvas 50 x 60 cms

Belsham Street studio 1994. NdA with unfinished self-portrait and "Music of Love" before I cut off part of the left-hand side of the canvas.

Thursday, October 11, 2018

BOOK-WORKING REVISITED

More to come shortly of ancient Egypt-inspired art. Meanwhile my friends Frances and Nicolas McDowall, who are the Old Stile Press (that's not a typo: it's Stile, not Style) have just been celebrated in an excellent article and a comprehensive video interview (click on the link) for the magazine Studio International. 

Through our mutual love for the art and craft of making books by hand the McDowalls and I became friends many years ago and embarked on collaborations several times, always exciting, challenging and hugely satisfying when the result finally emerges after months of sustained effort and lively discussions. 

If you look up my name on the OSP list of artists who have worked with them you'll find the other books I've done with the Press, the latest of which was in 2015, illustrating Dick Jones' English translation of Blaise Cendrars' TransSiberian Prosody and Little Jeanne from France. Pages from our book are on the Old Stile Press website at the above link.

Monday, October 08, 2018

STILL MORE EGYPT

More ancient Egyptian inspiration. This one came out of my love for angles within angles, as in the entrances and passageways of pyramids and temples. The painting is built in sections, some of which project from the surface.

Entrance to the Temple.1998 Mixed media construction. Acrylic, wood, cardboard, paper. 54 x 66 cms

Entance to the Temple - side view.

MORE EGYPT PAST

A few more examples of the ancient Egypt theme in some of my work. From a modern mind-set it's impossible to imagine with any degree of accuracy what it was really like to live at that time in that society. But what remains of its culture speaks to me in the language of architecture, art, artefacts, symbols, texts, colour, line, shape, intention. It's familiar, like family, like family albums.

My Egypt Room. January 2000. 33 x 25.5 x 8.5 cms
Mixed media. Wooden box with hinged glass lid.

My Egypt Room. With lid closed.

Wednesday, October 03, 2018

NOT THE TEN O'CLOCK NEWS

Nothing I can say hasn't already been said about the tragic, outrageous, infuriating events currently in the news and venting my own emotions about them on this page serves no purpose whatever.
So....lalalalala... I'm just going to post some more images of my own artworks, starting wih a few inspired by my fascination-connection with ancient Egypt (as mentioned on my birthday 7th August). These two works are from 1996, small and for sale either separately or together. If interested, please PM me.

The process for these was as follows: first I made a clay and paper mould then took a plaster cast from it. Using paper pulp I made the cast (Scribe No.2) and another cast on thin cloth (Scribe No.1), adding colour.
Scribe No.1 - 1996 Plaster and mixed media. 18 x13 cm (7 x 5 inches)caption

Scribe No.2 - 1996 Cast paper. 20 x 14 cm (8 x 5.5 inches)

R.I.P. CHARLES AZNAVOUR

He's gone, beautiful Charles Aznavour. Adieu mon cher Azna.