Featured post

Inaugural Seminar 8th April 2017

Goddess in the Machine

The SpringheadTrust

Fontmell Magna

Dorset

3-13th April 2017

www.springheadtrust.org.uk

The phrase ‘the ghost in the machine’ and its many levels of meaning has for some time been used in an, often derogatory, fashion by critics of the philosophical concept Dualism; as set out be Descartes et al.

The ghost being the consciousness, or mind, carried in a physical entity: the machine.

Gilbert Ryle coined the term in his 1949 work The Concept of Mind as a criticism of René Descartes. Descartes believed that the human mind is not physical, that it exists independently of the human brain. Ryle contrarily believed that human consciousness is dependent upon the human brain.

The phrase has come to also describe the supposed consciousness in a mechanical device that behaves as if it has a will that is independent of what its human operator wants it to do.

Computer programmers have also appropriated the term to describe programs that run contrary to their expectation.

It is a metaphor, a comparison made figuratively.

Long debated on several levels of meaning; at its core it is a phrase used to describe the soul [ghost] and the machine [body] and infer one’s interference, existence and influence on, and as distinct from, the other.

Hijacking this phrase and all its meandering debate is simply a way to attempt to structure discussions on the inextricable duality of human existence; suggesting that the ghost [Goddess] and the machine [patriarchal societies] are indivisible from the whole whilst constantly acting upon and, interfering with/defining one another.

SHOW

Running from the 3rd to the 12th of April [11am – 5pm – closed Thursday and Monday] an  exhibition of new paintings by the artist Deanne Tremlett curated by Anne Hitchcock.

EVENTS

Workshop; Research for painting; developing thematically within your work

Friday 7th [1-5pm]

Participants will be asked to come along with a piece[s] of their recent work and be ready to discuss their interests and, where relative, narrative with Deanne Tremlett and Anne hitchcock. We shall be discussing why it is crucial to develop as an artist, not just in skill, but in inquiry.

£25 – concessions available on inquiry, to book your place email:

deannetremlett@btinternet.com

Seminar: Goddess in the Machine

Saturday 8th [10am-5pm]

a structured, but loosely,a day consisting of talks and panel discussions around the construct of the new phrase; plus participation, performance and casual conversations engendered by it.

£30 – concessions available on inquiry, to book your place email:

deannetremlett@btinternet.com

With artists, curators, actors, singers and writers:

Deanne Tremlett 

[artist] on – goddess in the machine

Her current body of work; on show in the galleries, motivations and necessities for establishing one’s place in the world and the existence of the male muse

Anne Hitchcock 

[curator of the accompanying show] on -curating women artists

What makes a good exhibition? Why are some exhibitions more memorable than others? There is no doubt that the works shown are important, however in this talk Anne Hitchcock will propose that a successful exhibition is more than a collection of individual works, no matter how good those works may be.  She will suggest that much depends on the underlying curatorial premise – the concept – on which the exhibition is based. Drawing on her own experience of curating exhibitions both at The Slade Centre and elsewhere, she will consider the development of exhibition concepts and the importance of context in the widest sense

Fiona Robinson

[artist, curator, writer] Subverting the feminine – Angela Carter and Visual Art

The exhibition Strange Worlds The Vision of Angela Carter which has just finished a three month run at the Royal West of England Academy in Bristol was an opportunity, as curator, to gather together artwork which related to Carter’s writing. The exhibition included work by Ana Maria Pacheco, Paula Rego, Alice Maher, Lisa Wright, Marcelle Hanselaar, Wendy Elia, Eileen Cooper and others.

Carter’s iconoclastic writing with its intensely visual use of language focused on revisioning fairy tale from a feminine point of view.  She explored gender, metamorphosis between animal and human, and deviant behavior, nothing was sacred; there were no taboos.  It included a controversial female take on the writings of the Marquis de Sade. Using contemporary works from the exhibition and contextualizing them historically where appropriate, I will look at how these artworks subvert traditionally accepted attitudes to women, gender, identity and the male gaze and suggest that Angela Carter is still an influential force for contemporary artists..

Francesca Steele

[performance artist] – A Performance Piece

A live and  video artist who is mid PhD with the Visual and Material Culture faculty at Northumbria University. Francesca is currently researching on how processes of trauma impact on art practice and will talk on her work and perform a piece.

Steele’s work features on internet sites such as ‘girls with muscle’ and persists outside the tradition of the white box space; permeating wallpapers, concealed within the doctors surgery, hidden in cheap hotel rooms, living in the gym, held in a reflection and breathing through scar tissue.

Wendy Elia

[artist] on – the female gaze in the 21st century

A brief history of female self portraiture and a dissection of the female gaze.

Judith Jacob

[British Actress, Compere and DJ (Conscious Radio)]

Judith has been on our TV screens for more than 30 years, she recently started performing stand up comedy. As a DJ Judith presents her own show on Conscious Radio 102fm on Thursdays between 1 and 3pm

http://www.thebritishblacklist.com/thebritishblacklist/judith-jacob/

https://en.wikipedia.org/wiki/Judith_Jacob

http://geestor.co.uk/judith-jacob/

Madi Shrimpton

[singer, songwriter]

Madeleine Shrimpton is a singer, performer, creative facilitator, yoga teacher and sounder healer from London. She studied Drama at Exeter University many moons ago now and has a wealth of experience performing and singing (former co founder of female performance art trio Goodbye Leopold), running creative arts, singing, music and drama workshops with diverse groups of children, women, families and refugees (Blackheath Conservatoire, Artis and Eastside Educational Arts) and more recently she trained to be a Kundalini yoga teacher (Karam Kriya School) and sound healer (with the esteemed Gongmaster Don Conroe). She is passionate about the healing power of sound and incorporates elements of sound medicine in her performing and teaching.

Students

There will also be students from the Visual Art, Photography and Drama departments of the Gryphon School, Sherborne; who will be reacting to, documenting and participating in the event.

NB:

The theme of the event is definitely female but participation will in no way be gender restricted and, indeed, many of the students who have expressed an interest are male.

Artist Talks

Sunday 9th [brunch/lunch]

Brunch/Lunch with the artist, Deanne Tremlett

Other activities

Monday 10th Private Day

Student talks

Wednesday 5th and Tuesday 11th

Invited students from school/college Art Departments will be asked to bring work for critique and enter into critical debate within the space.

*image of Springhead Gardens’ water turbo by Edward Parker

 

 

SEMINAR TIMETABLE SATURDAY 8th APRIL:

 

10am             COFFEE and INTRODUCTIONS

10.30             ANNE HITCHCOCK

11.10             FIONA ROBINSON

11.50             WENDY ELIA

12.45             LUNCH and TOUR

2pm               DEANNE TREMLETT

2.40               FRANCESCA STEELE

3.20               Q&A into PANEL DISCUSSION*

4.20               MADI SHRIMPTON

5pm               CLOUTIE TREE**

6.30 – 9pm   PRIVATE VIEW

*The floor will be opened to questions for any of the participants to put to the panel, should there be an awkward beginning to this process then it is asked that the panel have a question formed in their minds in response to the day to lick start the process

**Cloutie Tree creation and spring head dressing explained and implemented

LUNCH WILL BE AVAILABLE FROM THE CAFÉ, OR BYO please email with any dietary requirements with at least 48 hours notice

 

 

 

Advertisements
Featured post

GODDESS IN THE MACHINE

  *

Goddess in the Machine

The Spinghead Trust

Fontmell Magna

Dorset

3-13th April 2017

www.springheadtrust.org.uk

The phrase ‘the ghost in the machine’ and its many levels of meaning has for some time been used in an, often derogatory, fashion by critics of the philosophical concept Dualism; as set out be Descartes et al.

The ghost being the consciousness, or mind, carried in a physical entity: the machine.

Gilbert Ryle coined the term in his 1949 work The Concept of Mind as a criticism of René Descartes. Descartes believed that the human mind is not physical, that it exists independently of the human brain. Ryle contrarily believed that human consciousness is dependent upon the human brain.

The phrase has come to also describe the supposed consciousness in a mechanical device that behaves as if it has a will that is independent of what its human operator wants it to do.

Computer programmers have also appropriated the term to describe programs that run contrary to their expectation.

It is a metaphor, a comparison made figuratively.

Long debated on several levels of meaning; at its core it is a phrase used to describe the soul [ghost] and the machine [body] and infer one’s interference, existence and influence on, and as distinct from, the other.

Hijacking this phrase and all its meandering debate is simply a way to attempt to structure discussions on the inextricable duality of human existence; suggesting that the ghost [Goddess] and the machine [patriarchal societies] are indivisible from the whole whilst constantly acting upon and, interfering with/defining one another.

SHOW

Running from the 3rd to the 12th of April [11am – 5pm – closed Thursday and Monday] an  exhibition of new paintings by the artist Deanne Tremlett curated by Anne Hitchcock.

EVENTS

Workshop;  Research for painting; developing thematically within your work

Friday 7th [1-5pm]

Participants will be asked to come along with a piece[s] of their recent work and be ready to discuss their interests and, where relative, narrative with Deanne Tremlett and Anne hitchcock. We shall be discussing why it is crucial to develop as an artist, not just in skill, but in inquiry.

£25 – concessions available on inquiry, to book your place use the contact form below

Seminar: Goddess in the Machine

Saturday 8th  [10am-5pm]

a structured, but loosely,a day consisting of talks and panel discussions around the construct of the new phrase; plus participation, performance and casual conversations engendered by it.

£30 – concessions available on inquiry, to book your place use the contact form below

With artists, curators, actors, singers and writers:

Deanne Tremlett 

[artist] on – goddess in the machine

Her current body of work; on show in the galleries, motivations and necessities for establishing one’s place in the world and the existence of the male muse

 Anne Hitchcock 

[curator of the accompanying show] on -curating women artists

What makes a good exhibition? Why are some exhibitions more memorable than others? There is no doubt that the works shown are important, however in this talk Anne Hitchcock will propose that a successful exhibition is more than a collection of individual works, no matter how good those works may be.  She will suggest that much depends on the underlying curatorial premise – the concept – on which the exhibition is based. Drawing on her own experience of curating exhibitions both at The Slade Centre and elsewhere, she will consider the development of exhibition concepts and the importance of context in the widest sense

Fiona Robinson

[artist, curator, writer] Subverting the feminine – Angela Carter and Visual Art

The exhibition Strange Worlds The Vision of Angela Carter which has just finished a three month run at the Royal West of England Academy in Bristol was an opportunity, as curator, to gather together artwork which related to Carter’s writing. The exhibition included work by Ana Maria Pacheco, Paula Rego, Alice Maher, Lisa Wright, Marcelle Hanselaar, Wendy Elia, Eileen Cooper and others.  

Carter’s iconoclastic writing with its intensely visual use of language focused on revisioning fairy tale from a feminine point of view.  She explored gender, metamorphosis between animal and human, and deviant behavior, nothing was sacred; there were no taboos.  It included a controversial female take on the writings of the Marquis de Sade. Using contemporary works from the exhibition and contextualizing them historically where appropriate, I will look at how these artworks subvert traditionally accepted attitudes to women, gender, identity and the male gaze and suggest that Angela Carter is still an influential force for contemporary artists.. 

 Francesca Steele

[performance artist] – A Performance Piece

A live and  video artist who is mid PhD with the Visual and Material Culture faculty at Northumbria University. Francesca is currently researching on how processes of trauma impact on art practice and will talk on her work and perform a piece.

Steele’s work features on internet sites such as ‘girls with muscle’ and persists outside the tradition of the white box space; permeating wallpapers, concealed within the doctors surgery, hidden in cheap hotel rooms, living in the gym, held in a reflection and breathing through scar tissue.

Wendy Elia

[artist] on – the female gaze in the 21st century

A brief history of female self portraiture and a dissection of the female gaze.

Judith Jacob

[British Actress, Compaire and DJ (Conscious Radio)]

Judith has been on our TV screens for more than 30 years, she recently started performing stand up comedy. As a DJ Judith presents her own show on Concious Radio 102fm on Thursdays between 1 and 3pm

http://www.thebritishblacklist.com/thebritishblacklist/judith-jacob/

https://en.wikipedia.org/wiki/Judith_Jacob

http://geestor.co.uk/judith-jacob/

Madi Shrimpton

[singer, songwriter]

Madeleine Shrimpton is a singer, performer, creative facilitator, yoga teacher and sounder healer from London. She studied Drama at Exeter University many moons ago now and has a wealth of experience performing and singing (former co founder of female performance art trio Goodbye Leopold), running creative arts, singing, music and drama workshops with diverse groups of children, women, families and refugees (Blackheath Conservatoire, Artis and Eastside Educational Arts) and more recently she trained to be a Kundalini yoga teacher (Karam Kriya School) and sound healer (with the esteemed Gongmaster Don Conroe). She is passionate about the healing power of sound and incorporates elements of sound medicine in her performing and teaching.

Students

There will also be students from the Visual Art, Photography and Drama departments of the Gryphon School, Sherborne; who will be reacting to, documenting and participating in the event.

 NB:

The theme of the event is definitely female but participation will in no way be gender restricted and, indeed, many of the students who have expressed an interest are male.

 Artist Talks

Sunday 9th [brunch/lunch] 

Brunch/Lunch with the artist, Deanne Tremlett

Other activities

Monday 10th  Private Day

Student talks

Wednesday 5th and Tuesday 11th

Invited students from school/college Art Departments will be invited to bring work for critique and enter into critical debate within the space.

*image of Springhead Gardens’ water turbo by Edward Parker

BOOKINGS AND INQUIRIES:

Featured post

Magpieman

magpieman

Resolving your issues in paint can often be a long process. Knowing when you have hit your nail on its head is one of the most satisfying feelings known to Deanne.

Finally…. I give you…..

Magpieman

Make of him what you will

Featured post

Dad

dad

Dad left us on the 22nd of December.

But he will always still be here.

Featured post

Women Beware Women; finished and detail

Women Beware Women

Women Beware Women

WBW detail

WBW detail

Featured post

Women Beware Women

Women Beware Women - work in origress

Women Beware Women – work in progress

Writing in the Daily Telegraph last year, Hannah Betts, unwittingly helped me with my research into a phenomena I had witnessed firsthand in my social circle, something that is anathema to me as a woman who has outgrown the playground; namely ‘divide and ostracise’ and a subject first visited by me in paint 15 years ago in The Three Muses, now in a private collection in London:

Three Women

The Three Muses

The events leading to and fallout from the spectacle were felt rippling through the entire village, to a lesser or greater extent, for years and things have never, and may never, be the same a gain.

Women Beware Women is a Jacobean Tragedy by Thomas Middleton that deals with several episodes/facets of ‘female transgression’ and has not one likeable girl in it. To be fair the men are all pretty bottom dwelling too, however, the play is notable for its scathing description of female motives and reasoning. Admittedly a period piece, where the concerns of the protagonists bare not a lot of resemblance to first world 21st Century issues, the idea represented here of woman colluding with man to bring down her fellow female is seen to be both laudable and villainous at the same time. However the girl on girl crime is the real crux of the story, the men manipulated by the women to enact retribution upon their sisters.

Hannah Betts wrote under the headline:

Women are being bitchier than ever – where’s the sisterhood gone?

Women have always judged each other – usually in private. But overt bitchiness seems to be on the rise as everything from weight to wardrobes is harshly judged. Are we all Mean Girls now?

……the Daily Mail website’s notorious right-hand column, aka the “sidebar of shame”, a diet of celebrity sex scandals, fashion faux pas, reality television and incredible weight-loss stories, with judgment of women’s bodies and behaviour the underlying theme. One of the kindest people I know, a mother of teenagers and friend to all, describes it as her “dark addiction”.

“I ‘right-hand’ constantly, day and night,” she says. “No matter what is going on in my own life, there is always solace to be had in fashion fails and bikini bodies. It’s a compulsion.” Many who openly despise the body baring of Page 3 are covertly devoted to the bodily critiques of Mail Online.

This compulsion – as with the compulsion then to let rip – originates with childhood, according to Dr Frankish. “Something happens that triggers a relatively infantile response, belonging to the pre-socialisation stage of development. Not all women attack others, so the implication is that those who do are insecure in their attachments and are triggered by what they see as someone being better than them, or getting more attention than them.” We justify ourselves with the delusion that it is a victimless crime, the subject as virtual as the medium.

For my part, I see the escalation of bitchiness as a symptom of the overall rise in and currency of misogyny. Not only do people – women included – get lured into replicating its manifestations, feminism has become a live issue again, and with this liveness comes a backlash and sense that it can be used to foster divisiveness. There have even been reports about a Reddit group that may be striving to seed infighting among feminists, encouraging them into ever more “extreme” stances.

The effects of this girl-on-girl sabotage can be still more concrete, affecting women’s relationships in the workplace and their polarisation into mother and non-mother camps, each virulently opposed. They divide us into ugly versus pretty, fat versus thin, small-breasted versus large, fashionable versus unfashionable – all enforcing the stereotype that a woman must be pretty, slim, buxom and stylish rather than, say, bright, healthy, happy and fulfilled.

One must not be naïve, of course, we are never all going to get along merely by merit of possessing two X chromosomes and a vagina. Equality means equal opportunities to like and dislike rather than exist in some Pollyanna universe. But neither should we turn against each other because of possession of said attributes. Not least because in sisterhood lies strength.’ [source; The Daily Telegraph 21 February 2015]

Featured post

There, but for the Grace of God

img_0253-2

Grace of God (work in progress)

 

– with Zombabie (work in progress) and Peggy Suicide

today in the studio.

img_0251-2

Featured post

Hysterical

Zombabie;

#workinprocess

#inthestudio

#singlemindedfemale

#obsession

#needyneed

#arestalkerspretty

#possession

#femalehysteria

#flesheater

#blowjoblips

img_0249-2

img_0248-2

Featured post

Peggy Suicide

Well, I think that it is evidently a good thing that I am not primarily a writer, given the fact that I constantly forget to write this blog. The reason being, mainly, that I am caught up with painting as much as physically possible. Secondly I am a single other of two teenage sons who need constant feeding and taxiing around and thirdly because painting is a physically exhausting place to be.

It is a place you know.

When you get there there are no clocks, food, drink or lavvies. Time passes out of time. people no longer matter. Thinking processes cease to be conscious and the subconscious comes to the fore. Conversations take place, but only with the paint and the subject upon topics I can never recall.

Interrupted as I was just now, by a visit from my mother I jumped in shock and swore at her. Once she had left with a flea in her ear I returned to the painting to find marks I could not remember making, colours I had no idea I had mixed and changes I had not decided upon.

I also found that the painting was finished. So thanks mum. Sorry about the flea.

So here she is.

Peggy Suicide

Peggy Suicide

Featured post

Hello boys…

IMG_1962

….it’s been a while. I started the concept of these guys a few years ago but  other themes and imperatives cropped up. Things have a habit of emerging again, truer and stronger, though and on the back of my six female archetypes it was just the time to return and attempt a resolution here also. So here goes, one day in and fairly pleased. I will go at it and see what occurs…

Featured post

Mmmmmmm WARNING!

As I have been a little poorly I have not had a helluva lot to say. However, on returning to the studio this morning I discover why one should never let your 16 year old son ‘borrow’ your studio in your absence…

IMG_0152 (2)IMG_0153

Although he can be forgiven for this…IMG_0154

 

Featured post

Burning the Bacon

Half term and the studio have kept me absent from the keyboard too long and it is proving difficult to order my thoughts into something worth writing.

Time necessarily divided between the paint-face and nagging teenagers to revise is completely different from that spent with hours ahead in which to mull, apply, remove and scratch,; but strangely, wonderfully so.

It has provided me with a new perspective, probably (and possibly – for environmental reasons which may become clear) fleeting.

Painting with imperative is good.

I like it, it produces a more visceral image and marks are necessarily kept when they might otherwise be reconsidered and even obliterated.

Painting with reflection is also good.

I also like it, it produces an altogether more measured image. Subject matter that, as ever with me, lacks subtlety is rendered more viewable. The anger often present can be supplanted, somehow, in the beauty of the paint.

Not to say that instinctive marks are not beautiful, I frequently excavate my surfaces to reveal their trace, but on their own are they enough?

I am minded, again, of Bacon and his endless search for truth with his marks. He describes his deep loathing of illustrative marks. Any painting he felt he had spent too long upon, so that his workings had strayed into decoration, he would put on the fire.

He describes the need to have work removed from his sight so that he may not touch them further and begin to ruin what he saw as all that was necessary. Like countless writers and composers before and since, paring down work to only the essential words and notes.

Should all mark making only be indicative therefore? Illustrative painting forgot?

At what point does a mark move from indicative to illustrative? If, by our reckoning, an indicative mark does not hit the ‘nail on the head’ does an overlaid, secondary mark, then become illustrative?

Is the luxury of consideration bad for our work? Should I buy an alarm clock and strictLy limit time spent at the face? Artificially imposing the time constraint that has created this dichotomy?

How many paintings did Bacon burn?

Yours, currently planning a bonfire,

Deanne

 

Featured post

Cliff Notes

What attracts most about Deanne’s work are the layers of engagement and response it demands of the viewer. I am drawn into the physical nature of the paint while encountering stories of vulnerability, playfulness, absurdity and the deeply serious impact that relationships have on our mind and body

This often comes across as an intense tension, bearing witness to a moment in time, a narrative, a play. Yet the psychological drama that is unfolding has been caught or frozen, not so that it loses the context of what happened before (or will afterwards), but maybe as with a polaroid, in that it processes, changes and reveals before your eyes.

When I look at Dawn Peebody it typifies my whole viewing experience. Drawn in, seduced by paint and flesh, discomforted, protective (of) and unnerved (by) vulnerability – what has happened, with whom and why?

It is always interesting to observe the structures artists use in constructing their stories in paint. Deanne, in setting her stage (as Francis Bacon did with plinths, cages and furniture), frequently separates foreground and background and by doing so emphasises further the sense of seeing the figures in an unfolding scene or drama. This has an effect, as with the analogy of a polaroid picture developing in front of you, that can be almost filmic; you are waiting with trepidation to see what might emerge next.

Deanne’s use of paint compounds this effect. Often she uses milky translucent washes, as in Dawn Peebody, that make the figure look as if it is emerging from freshly developed film, and yet could just as easily fade away if over exposed.

At other times the canvas is stencilled, embossed, paint and lines tattooed. It forms, as in Jane Doe, a background for startling light and dark contrasts. The body almost becomes functional, sometimes displaying an enveloping controlling maleness, or a female vulnerability that confronts aspects of itself and others.

Overall I love these paintings, the bewitching, sublime and complex responses they evoke. Like a satisfying debate, they start by tempting and luring me in with paint and light, consolidate by playing out the theatrical psychological drama, and then finish with the need to return the gaze.

Visceral, physical and perfectly disturbing.

Written by Cliff Free in response to a studio visit, January 2016

image Dawn Peebody

Featured post

Zombabie

There is lots written about naming a painting.

For me the painting appears in my consciousness, pretty much already done, bar the screaming. A complete idea, already in the room.

The title, less so, slowly follows. It swims into focus and is essential, to my mind, to my intent. Some works take years to name themselves.

Almost as if my subconscious is pointing out a lesson I have yet to learn.

Titles can be misinterpreted, obviously, as can the works themselves. However original intent is notoriously difficult to have stick. Look at communism.

So, what is in a name?

Something particular to original intent.

Even when just a number; it imbues the work with something of the author.

History tells us that some of our most famous masterpieces are not now known by their original, intended, name. Has this meant that we have subsequently read them wrong? Not individually, never personally, but culturally and pandemicaly?

Well, here is Zombabie. First sketch. Plus a very amusing link I stumbled across when musing on this post. Please rename as you see fit, happy to consider alternatives….not!

image

http://noemata.net/pa/titlegen/

Featured post

Two Maria Lassnig quotes

“Sight, Lassnig insists -or at least her way of seeing- comes from within and embraces what is outside. As a result, whether she is painting or working on paper, she is recording not only what she sees -physically no less than mentally- as she sees what she sees. Rather than a gut-wrenching expressionism, Lassnig’s is an expressionism of the gut. (…) Lassnig’s work on paper is something you don’t simply look at, but look into -or perhaps feel into. At once agitated and calm, animated yet centered, singular yet reiterative, elaborate yet forthright, these works not only accept inner and outer worlds equally but manifest them as a continuity. What you see is what you feel and vice versa.”

(taken from ‘Body Awareness -Maria Lassnig’s works on paper’, Peter Frank in art on paper, nov-dec 2009)

“When I was young, I was clever enough to know that if I got married or had children, I would be eaten.”

Lord love her

 

Featured post

Shagalicious

This carpet is really messing with me.

My eyes are non-stop refocusing; like a cheap digital camera that knows not where to look.

The image is still emerging from the oddly comfy realms of my subconscious. Honestly, it’s a laugh a minute in there.

Still, at least I can keep myself amused.

image

 

 

Featured post

Getting pushed around

So, Bacon, thanks for that.

I have now realised that it is actually the paint that pushes me around.

So much so that I was exhausted by the whole experience, and [to be honest] with the planning for and stressing about my birthday party on Saturday, and could find no way to express it last night.

On the back of the quote I posted the day before, I decided to try to look at my own method and process in the studio more closely. I suspect a more scientific, and probably the next most logical, thing to do would be to rig up the camera and do some kind of time-lapse film; as a lot of it I can’t recall.

I did, though, try to make a regular check in with my consciousness and found myself all over the place, working on six or seven pieces without any, obvious, pre-consideration.

It had not occurred to me that this is how I work before. I knew I had several ‘on the go at one time’, but it seems to be something to do with the nature of the paint that moves me from work to work.

So, in the complete opposite of what Bacon said yesterday, I am literally being pushed around by the paint.

So I mean it. Thanks.

Herewith some images of the works I touched yesterday:

 

 

 

 

Featured post

A gift

I must thank you, Cliff, for my birthday gift.

I think.

David Sylvester’s conversations with Francis Bacon (Thames and Hudson).

I had only read them in part before but today has been both blighted and lighted by them.I have not painted at all. I have read and re-read. His process makes me tingle.

I do not think anyone has ever more eloquently captured, in such an accessible manner, the truth of it (that is).

I offer you this:

“I don’t really know how these particular forms come about. I’m not by that suggesting that I am inspired or gifted. I just don’t know. I look at them – I look at them, probably , from an aesthetic point of view. I know what I want to do, but I don’t know how to do it.. And I look at them like a stranger, not knowing how these things have come about and why have these marks that have happened on the canvas evolved into these particular forms. And then, of course, I remember what I wanted to do and I do, of course, try then and push these irrational forms into what I wanted to do.”

WTF? I so wish he weren’t dead.

Featured post

blogoff

Jan 4 2016

Yesterday was my birthday. I spent most of it in a fizz fuzz.

Despite this I was very fired up about beginning this blog today and this morning, while I was in the bath, ran through all of the things that I would write.

I was going to try to express in words why I need to paint. What it means, where it comes from and my hopes for what happens when I send it out into the world.

As the day has gone on, though, I have experienced a slow slide towards misunderstanding.

What seemed so clear to me as I washed my hair now sounds trite and silly. Tiredness due to yesterday’s overindulgence has robbed me of my insight.

I am glad, however, that I did not jump from the tub and warble on there and then but instead waited until this evening. It means that there will be a somewhat inauspicious beginning to my efforts.

Which is exactly as it should be, given the circumstances..

Work in progress...meet the girls

Work in progress…meet the girls

image

As one painting closes…

There but for the grace of God

There but for the grace of God

Finished, based upon my sister, but painted from memory.

New Commission

New Commission

Started, and this is about all you will ever see of the work.

A private commission for a private residence.

Exciting surface!

This is such a great time; considering where to start, putting off the first mark.

In my minds eye it is already there.

Now begins the process of getting to what I already see…