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Georgia O’Keeffe at Tate Modern

Off to London to see the Georgia O’Keeffe at the Tate.

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Just to set the visual scene….. I took a couple of photos yesterday that have spurred me to choose the particular O’Keeffe image above. This most monochrome version of the three “Black Place” landscapes on show in London sprang out at me from Google thismorning when preparing to set off for the show. I saved it. Then I saw it on my iphone photos, alongside this photo taken yesterday :-

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I think that it is unkanny how the brain makes associations and it’s great fun to unpick them. It’s not the whole story of making, but probably a more important one than I tend to give it credit for. The composition on this very industrial scene in Sheffield’s Don Valley taken yesterday clearly influenced my decision to pick that particular O’Keeffe painting above thismorning. I just didn’t realise until I saw them both together.

Here is another O’Keeffe image. I wonder if I can make it work back the other way?

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It’s a bit of a challenge this, and obviously not operating at the same unconscious level as the previous choice. Anyway I’ll give it a go…..

A bit contrived and the figures don’t add anything but it’s not unsuccessful:-

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What can a Prisma filter do? …..

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Hmnn, very much not an O’Keeffe, but maybe its got something going for it…..

In the meantime, this old painting of mine popped into my head:-

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I think that it has some of the organic elements of O’Keeffe’s works and also the large areas of colour. The whole thing is not really in the same class though, with the more textured flat areas and the slightly confused complexity in parts. Some of the tonal work has merit though and I need to think of that when moving on to painting (rather than blog rambling:)).


Having been around the exhibition now, I am struck by several things:-

She was a really good black and white artist whose drawings and subsequent painting drew heavily on photography and the influence of her partner at the time. Then later on her friend the photographer Ansel Adams. (Apart from her own photos of course).

Also she did a whole load of work based on buildings in New York:-

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So is my London architecture playfulness/experimentation perhaps so far off the mark?  Certainly the factory silhouette at the start of this blog could fit in quite neatly with some aspects of O’Keeffe’s vision. How about this photo from earlier today also?

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I really was struck by her responses to New York, but when it comes to it my response to London architecture (wonderful as it is in all sorts of ways)  is not to get excited about the idea of painting it. She lived in New York  I do not live in London.  I do live near the Don Valley factories though and I think that is the difference. The factories and silhouettes against the Don Valley light, move and inspire me and make me want to paint. London (fantastic as the late Summer light and architecture are) does not. So Georgia O’Keefe leads me confidently back to a place that matters.


She clearly had a much broader vision than the popular “sexuality metaphor” reputation that was promoted by her husband initially and then vociferously denied by her for decades afterwards.

I particularly liked the “Bones” paintings and think it is all well and good that they represent the beginnings of a partial iconography for 20th century America:-

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Much more than the narrow surrealist interpretation offered by some critics at the time. This is not Dali.


The importance of place is the thing though as I have hinted at earlier. It comes through with power and dignity in her work. Clearly this is what she is about to a huge extent. I was amused by her quote, “God promised me that if I painted the mountain enough times, then he would give it to me”. (Words to that effect).

So what does one take from this?

……in a few words, the importance of place, a confidence around abstraction, a boldness of colour, a sparing but necessary use of black, the power of painting in series and an unerring projection of personal emotions.

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Making “Through the Square Window”


Following on from the Church and the Mosque images that I worked on and posted on Twitter, here is the combination of the photos and the painting once it was combined and then applied to a 38″ x 38″ canvas:-

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A4 sheets are cropped after printing and then assembled with masking tape.


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Ironing of the individual sheets proved difficult to begin with.


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I was always expecting some roughness to emerge, and was eventually pleased with the “old photo” type effect that began to happen.


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I kind of got the hang of it eventually though and so the ones at the top are neater than the earlier ones at the bottom edge.  No matter though as can be seen, as it comes together very well when stretched up on canvas.


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After coating with two layers of watered down PVA glue and drying off I finished the whole thing with a black marker.


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I checked on Google for the phrase which had popped into my head from the old “Play School” kids program from the 60’s and found that it was also a book of poetry by Sinead Morrissey and a series of silk screen prints by an artist called Kate Banazi (different from my work and very stylish)

For myself, I like the tension that is created by the window idea and the thing with the windows in the picture and the picture as a window. Or perhaps a window within a window within a picture. The Hand writing is a reference back to the “In from the Cold” painting from the previous post about the Berlin Wall.

So, a long build up to this with the photos and the original painting, but I am happy for the final piece to be completed in one sitting more or less.

As I said previously though, I think there is more than one painting here.




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Bridges, River, Church and Mosque

 


More painting ideas

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Fig 1  “Church and Mosque: Don Valley”, Photograph, Canon 1d mkiii with 28-300mm telephoto


Some further thoughts, painting ideas and developments after wandering around the Don Valley and taking some more photos.

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Fig 2 “Long Shadows”; Photograph, Canon 1d mkiii with 28-300mm telephoto


Using the Canon 1d mkiii with the 28 to 300mm telephoto gave me a bit more scope than the iphone 6.

I originally intended to follow up the bridge idea previously mentioned and in a sense I am doing. However, not quite as expected.

I drive past the view of the Church and the Mosque often (fig 1) but this is the first time recently that the light has been favourable. The bridge picture is thirty yards further along than the railway bridge in the previous post.

So I got some pictures of the Church and Mosque and then went wandering to discover that the bridge over the river that I’d just been standing on to take the “long shadow” image (fig2) had this written across it:-

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Fig 3 “Imagine Waking”; Photograph, Canon 1d mkiii with 28-300mm telephoto


So I suddenly felt that I had a whole load of ideas competing for attention with my “time travel” memories from the previous post.

At this point I went off, downloaded all the pictures and started Tweeting some of them in one form or another. The unintended consequence of this  was that I found a photo filtering app called “Prism” and came up with the following set of images:-

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Fig 4 “Bridge and St Johns” Prisma filter


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Fig 5 “24 grid filters for St Johns”


It is a really neat filter effect app for mobile phone that produced some striking outcomes. The grid effects like the one above and this one below where also very pleasing:-

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Fig 6 “Church and Mosque”; prisma filter


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Fig 7  “24 grid filters for Church and Mosque”


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Fig 8 “Church and Mosque”; Photoshop from 30 imported Prisma filter layers  


At this point I have still got half an eye on the background oil painting canvas (fig 9) that I showed in the previous post:-

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Fig 9  “Underpainting”; oil on canvas, ready to kick start one of the ideas


My intention had been to paint my first bridge ideas over it, but this idea  kind of moved on over the last few days.

Eventually I decided that it seemed to fit better with the Church and Mosque above. I’m pretty sure I have two or three paintings taking shape now anyway and I just need to start working them through.

Finally though, the last Church and Mosque picture above was made by importing all 30 filtered versions of the image into one Photoshop file over 30 layers (fig 8). The process was then to work on the top layer and remove everything that I didn’t want (which could mean almost everything) and then move it to the back of all the other layers. Then repeat the process with all the other layers in turn. The final outcome is of course much more subtle, whilst each subsequent new layer offers me the option of its own character and energy in whatever wuantity I like.

These are a couple of other photos of mine that I gave filter treatment to along the way. You can see the importance of lighting on the circuit board one in particular:-

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Fig 10  “Signpost” Screenshot of initial Prisma app experiments  

 

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Fig 11  “Circuit Board”; Just for fun Prisma filter from iphone photo

So I’m ready to move on to a new stage in this precess and now intend to start drawing and painting to produce a small body of work around this whole theme.


 

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Painting a Bridge

I really like bridges. The big ones like over the Humber and even small ones like the one at Bakewell.

But what I really like are the cast iron industrial railway bridges like this one in the Don Valley in Sheffield:-

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Ask me why but I’m not sure I can really answer. Something about the triumph of function over form at one level, but it is something more than that. I hesitate to say that it is an aesthetic in its own right, but it really does stamp something on my psyche.

I was walking down the road to pick up my car from it’s service and found myself wandering through this semi-indusrial area of the Sheffield Don Valley. Every now and again a train would thunder across the bridge and I would miss the photo opportunity.

I don’t suppose they are all that “northern” as the railway network covers all areas, but they remind me of being 11 yrs old in 1971 nevertheless. Trainspotting and associated record keeping and worship. All of which was undoubtedly the same for my peers in Kent at the same time….

BUT,

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I can’t help being transported back to that northern childhood and feeling in touching distance of any number of other experiences.

It is a kind of “Life on Mars” thing, infused with timetravel mystery. And from a painting and making art point of view it can provide a backdrop for a narrative as yet undiscovered.

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This is the underpainting I will work with and then paint the further layers of context and narrative over and around it. The above photos will inform what I do and tease out some sort of story I hope.

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5 things to do at the Berlin Wall

Pausing for thought


This is my first visit to Berlin and I guess new cities are always difficult to negotiate. The following blog explains a bit about my own approach to this and is both a reflection and a recommendation centred around the Berlin wall “East Side Gallery” and the wall’s “Memorial Museum”.


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“In from the cold”:

Oil, felt pen and spray paint on canvas

60″ x 60″: Claytor 1990


1. Think about the power of Art.

Go to the East Side Gallery and walk along looking at the different bits of grafitti art. Ask yourself what was the purpose of those paintings on THIS wall. Wasn’t the job done anyway, before the paintings were  completed? Make sure that you look at the other side of the wall also while you think about this.

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2. Remember your own art

Think back over any of your own drawings, paintings, film, ceramics, printmaking, photography.

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Ask yourself if anything you see is like anything you have done? If so why and if not why not. The paintings on the wall are for the most part, not that attractive, but they are situated entirely in the right context. They are political in a way that most art is unable to be. Picasso achieved it with “Geurnica”, but that is pretty much the exception that proves the rule.

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Social media affords some wider political context for our work as artists. Is this good enough? I ask myself how important is it to have an audience who can stand in front of my work as an artist. To be more than just a “meme artist”, do I have to literally reach my audience? Do they need to be able to touch my paintings.

3. Look really closely and close up

Study the details of the paintings on the concrete wall surfaces. Not because you will appreciate the grafitti art on the wall sections better, but because it will help you in just BEING THERE.


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4. Make your own piece of art out of what you see.

This landscape is not dead. Its story continues and you have an obligation to tell it.

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5. Move on to the wall museum

Look out over at the last example of the watch tower and the Berlin wall

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“Its forbidden to deface or damage the wall”

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Famous Gorbachov kissing picture

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Crowds taking their photos

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View from platform: Berlin Wall Memorial and Visitor Centre: July 2016

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Concreted stained glass work: Berlin wall memorial and visitor centre

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Berlin wall memorial and visitor centre

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Berlin wall memorial and visitor centre. View of last double section of wall including watch tower.


In conclusion, all the walking around and climbing stairs and viewing platforms combined with museum exhibition stuff, makes for a very exciting and thought provoking day.

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“In from the cold”:

Oil, felt pen and spray paint on canvas

60″ x 60″: Claytor 1990

My own thoughts turned to this painting that I started in 1989 around the time the wall came down. In the first instance it had been a response to reading “The Spy Who Came in from the Cold” by John le Carre. Then watching the film of the same name staring Richard Burton. It eventually became interwoven and tied in with the events unfolding in Berlin.

It is perhaps one of my own favourite paintings and so it has been splendid over the last few days to see my original “statement of ego” (for that is what most art is) taken a little bit further after all these years. I was struck by the similarity of the close up texture and tonal work between some areas at the beginning of the gallery wall and my own “In from the Cold” piece.

The painting itself was finished many years ago, but I feel that I have only just finished it properly in my own head now, after this first visit to Berlin and the unrelenting mosaic of social, political and historical detail I have taken on board.


 

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Upcycle


Up cycling by www.rebago.com

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I really like these “upcycled” bags on a stall in a market in Berlin. They are a bit pricy at E35:00 upwards, but they are all bespoke individual pieces. Speaking to the young Polish woman on the stall, she explained how they use materials such as inner tubes, airbags and seatbelts (all car related material I note). This makes for strong, durable products that are waterproof and long lasting. There is an industrial stylishness about them which beats the commercial sports/school bag hands down.

The bags are also for sale at www.rebago.com

I see another new curriculum GCSE project in the making……

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Testing header gifs for WordPress

Header GIFS


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New header for website. Just need to get rid of the white space beneath this animation now.


Well I got rid of the white space and then had it working ok on the banner at the top. It won’t accept a banner wider than 720 pix though, or at least that was the size of the one that worked. To cover the whole page I need 1200 pix though. When I make one that size it won’t run the animation. I must get on the sites to check this out.

Here is the 1200 pix header that works ok:-

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What I really want is to get a longer one like this or the slider one:-

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to work on the header at full stretch of 1200 across the top of the whole page.



 

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IES

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This-evening at EIS

Took Dan here this-evening for sprint practise. This started as an experiment in uploading a video to the blog. (Obviously it links to you tube rather than being embeded in the website blog itself).

The still image link is quite interesting in that I see it as a potential painted image itself. The you tube experiment worked perfectly.

Still image and video sort of correspond with my dreamscape and narrative overlay idea I suppose. So the painting starts to move and as it becomes a video it takes on the story telling aspect mentioned earlier.

I still want to make paintings based around this though. Making a video is too easy. Setting up the creative context for the perfect detail within the tale as required in the kind of painting I mean is much harder.



 

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Dreams and Art

How do we use dreams in Art?

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“Allotment Sheds”: Oil on canvas

60″ x60″: Claytor 1982


Just been rooting through my old paintings for one that fits with this idea. Sheds, gardens, ramshakle structures etc.

The artwork is not really complete for the Aragorn tower dream yet though. I don’t want to create the impression that I am always having these super cathartic dreams that point the way foreward in both my creative and social life. Nevertheless, this was an absolute corker! ………

I’m sure I could do a very telling starter drawing for the idea. I have always been fascinated by barns and structures that serve the countryside and this dream nudges me a bit further and beyond just the stage set of all that.

This dream first needs analysing though. At least to the point where I can begin to outline some kind of narrative.

Keywords here are:-

Freud, tower, (ooher :)), release, responsibility, forgiveness, gardens, families, collapsed, nature, friendship, salvation, build.

I have always been struck by how really good narrative paintings are so nuanced. So that the representation of even the shortest tale can have a myriad different facets, depending on the point where one hitches up to the story.

Dream pictures such as those by Dali on the other hand are kind of fixed perspective illustrations that represent the idea behind the original dream. They might be more inclined to take on the keywords as a starting point and allow what Freud described as “secondary elaboration” to play its part. i.e. Speculation on its message via the complexity of symbolic meaning.

The narrative approach is perhaps more concerned with character and personality as expressed through the realism and staging of a particular point in the tale.

For myself then I do not willingly forgo any of the creative nuences. However, I admire some of the reflective stillness of the Surrealists. Their ability to create a stage set is unquestionable. My allotment piece above is perhaps in that catagory. The Summer aftenoon mood is perfect. Yet I (as the viewer) desire to fall asleep and dream in front of its stage to see what will happen. What are the tales of release and forgiveness that are told like an extra photoshop layer on the surface of my old painting?

So I hope you get the the two main paths that I have outlined here. The stage set and the nuanced narrative.

With a dream gift such as the one described in my previous blog, then maybe the obligation is to bring the two together. Not just the time and place illustration and not just the subjective character reponse in all its subtlety. But an overview containing some kind of real time google earth perspective that shows that ideal moment in perfect detail before allowing us to wake up.


Try this book for good measure:-

Freud: “The interpretation of dreams”


 

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The sweetness at the bottom of the pie


Alan Bradley:

“The sweetness at the bottom of the pie”


Reading this at the momentimage


Great “rattle along” mystery with good fun protagonist in Flavia. Quite a few books in the series.

I see my Summer stretching before me ….


Finished it now and so here are a few reflections on “The sweetness at the bottom of the pie”.

I guess it always takes a while to settle into a series and get to know its characters and Flavia de Luce is no different.

I see that there are seven books in the series so far and so there is plenty to go at if I completely get the bug.

The stories are set in southern England of the 1950’s. They reflect a time and place that is based on a sort of fantasy version of the “English countryside” that Bradley concocted very effectively, but from afar in Canada without ever visiting for many years.

Here is a link to an interview with Bradley where he speaks briefly of his own time in school.

The story moves along quickly and is satisfying both in terms of plot and characters. A mixture of peril and clever detecting.

I am looking forward to meeting the main characters again in the second novel. The policeman in particular seems to have a lot of potential alongside the eccentric bunch of other players.


So moving on now to:-

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Cover Graphics for these books about Flavia de Luce


Just have a look at these covers to Harper Lee’s Pulitzer prize winning novel “To Kill a Mocking Bird” published in 1960.  

Clearly I am going to argue a similarity between the three covers shown here and the ones in the Flavia de Luce books by Alan Bradley. The use of the tree and the silhouettes and the birds, combined with the flat colour is pretty conclusive.

Beyond that. Harper Lee’s novel is set around 1933 to 1935 and so is fifteen years or so earlier than the Flavia de Luce novels. However this descrepency is not so important if we consider the designer of the cover as making a broad “just before and just after the second world war” reference from a stylistic point of view.

So the content is undeniable and the overall aesthetic is pitched in a twenty year window between 1935 and 1955 or so. This “style” of book cover was of course determined largely during that time by the practicalities of the printing process. Full colour litho did not come in for a while after 1960 and can only be seen in the covers of the later editions of “To Kill a Mocking Bird” where photograpy is used.

So that does add an extra poignancy to the covers of Alan Bradley’s books. The artist has clearly gone for the simplicity of technique as a deliberate choice.


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Aniversary cover by Sara Jane Coleman

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Two covers for the fiftieth anniversary edition harking back to the original book covers.

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First edition cover


Another more generic reference for these book covers is the railway  posters image image

Various poster examples for different lines during that period

of the 1930’s and 1940’s. Again done in simple, beautifully drawn and painted flat colour illustrations. slightly more colourful and less moody than the “To Kill a Mocking Bird” covers, but completely evocative of the era either side the 2nd World War.