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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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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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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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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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Football as Art


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“What is Stiles saying now: Whistle down the Wind”, Claytor, 1990


I kind of get it when people talk about this, whilst always feeling a little uncomfortable with the idea. Art/Sport; Sport/Art? It is genuinely meant as high praise, but I suppose I don’t really want football to be an ‘Art’ as such because the later means something else to me.
Similarly with martial arts. It is perhaps a little bit closer from a personal, reflective and meditative point of view. -Still no ‘art object’ though.
Art whilst retaining a valuable status, is also seen as notoriously pretentious as a matter of course by many. I don’t go along with this for the most part (because I genuinely tend to enjoy most art I come across). Artistic achievement is consistantly undervalued and misunderstood even when on display in its own arena . This does not mean however that I want to migrate it into the sports stadium and designate any aspect of football as ‘art’ though.
I want to admire a Messi goal differently. It is unnecessary (and pretentious) to describe it as art. Any number of other superlatives suffice in the heat of the moment but lets avoid ‘art’ (and ‘poetry’ while we are at it) ‘cos in many ways Lionel is better than and certainly different from that.