“365” – the final piece in my #BlackSquares365 project
Today is the last day of #BlackSquares365, my every-day-for-a-year serial art project. A couple of days ago Paul Newman, the brilliant graphite artist, suggested I finish with an envelope. I woke up early this morning and thought (quoting Roy Harper), “He’s right! He’s right: I’ve not done that one for ages! Little bugger.” Paul was alluding to two previous projects of mine: #Letter365 and The Binding Grid of Creative Connection.#Letter365 was my second year-long art project in which I created an artwork from scratch each day, sealed it in an envelope and sent it to the gallery. The envelopes were displayed as an installation and only opened if and after they were sold. The Binding Grid of Creative Connection was created whilst I was in residence at my solo show at Black Swan Arts, Black Squares, Black Lines & Black Magic. It was a celebration of the connections I had made on Twitter with other artists round the world. 72 artists contributed a total of more than 150 4” square artworks, their takes on the theme of the show. Paul contributed a drawing to The Binding Grid, in response to which I made an envelope along with a statement of possible contents. To this day Paul does not know if his drawing is/was in that envelope; he doesn’t know if I erased it.
So, today, I have reprised that work. Paul cleverly connected my previous black squares work with a previous serial art project. I can add in additional connections to previous work and long-standing inspirations and influences. In particular there is a reference to the last chapter of Richard Brautigan’s “Trout Fishing In America”, about which I made a small sculpture (involving Letraset, which I have started to use again in #BlackSquares365) when I was at art school, probably in 1973! The sealing wax was a feature of #Letter365 and I have reintroduced it here: it should have said “bee” (I’m a beekeeper) but I panicked when the wax started smoking (we have lots of new very sensitive smoke alarms at the studios now!) So, I have cleverly connected this piece to the work Paul was talking of and have rekindled in him, I hope, that terrible angst of not knowing the whereabouts or condition of his work. I thank Paul for giving me this opportunity and for all his support and help over many years.
So my final piece ends the series with some unknowns and who knows if it even meets the criteria I set out at the beginning, but I like it a lot and it’s a fitting end to a decent project in which I made some pretty good work, stretched myself but didn’t fret and found the discipline the easiest of all the time-based projects I have done.
“Traces” will feature work by me and the immensely talented Sharon James. Both of us explore the traces of things past and endeavour to create something more beautiful from subjects that are sometimes not so pretty. Sharon James’s latest works are concerned with what has gone before in her own history and in the world around her: investigating matters both deep and superficial. On the one hand, her autobiographical work explores her black identity and links to slavery through a series of drawings and paintings; on the other hand, she has developed a series of digital drawings/collages that deliberately aim to produce something quite different and beautiful, an antidote to what is often quite a dark subject. As most of you know, for some years I have been exploring the notion that nothing is ever completely eradicated. Usually my work is directly inspired by the patterns and processes in our landscape, but much of the work I have chosen for “Traces” focusses on human conflict and the sad fact that wars and discord will always flare up again and the causes can never be covered up or eradicated. I will be showing some of the pieces created for the “Artists On Conflict” show in Woodstock plus some other work where you can see the links to both my Black Squares work and the Erasure pieces. “Traces” continues until 11th May with the gallery being open Tuesday, Thursday, Friday, Saturday 10am – 5.30pm.
“Double Erasure: Winter Field” Multiply erased graphite on Canaletto paper 495mm x 695mm
I was delighted a couple of years back to have this piece, “Double Erasure: Winter Field”, shortlisted for the Wells Art Contemporary Awards. That was at the historic Bishop’s Palace at Wells in Somerset. I am doubly delighted that it is now selected for the inaugural show, “Connections” at the stunning new Wells Maltings cultural hub in Wells-Next-The-Sea, Norfolk
It’s always great to be included in an exhibition but the reason I am especially pleased to be part of this show is my history with the North Norfolk Coast, particularly Holkham Bay which is just to the East of Wells-Next-The-Sea. Work about that beach and the landscape behind it sparked the idea of my Tidelines project (which I hope one day soon to fulfill) and was instrumental in me reconnecting to my art practice and subsequently committing to it as a full-time, professional engagement.
This piece is from my erasure and redaction work, rooted in the landscape and coastline, which explores how the traces of history and events are never completely obliterated but can still be read and forever influence the present. The marks are made and erased, made and erased, like the similar-yet-unique patterns in the sand are made and erased twice each day. This piece specifically relates to Holkham West Sands, the marshes behind and the Essex marshes where I grew up.
I am pleased to have a piece selected for Atkinson Gallery Summer Exhibition 201. It is the first time I have entered a drawing on canvas into an open exhibition and its acceptance is an encouragement as I am starting to do some more work on canvas. This annual show has built a good reputation for showing an interesting collection of work in a variety of media. All work is priced under £500 so it’s a great place to build your art collection
The show runs Monday 25 June – Friday 3 August 2018 (Mon – Sat 9.30am – 5.00pm) at Atkinson Gallery, Millfield, Street, Somerset. Free admission to all. The Private view is on Monday 25 June, 7pm – 9pm – all welcome.
“Solid IV” Mixed media drawing on handmade Indian ecopaper 30cm x30cm approx
“The Transformed Land” show I was part of at The Brewhouse, Taunton, and Circle Hospital in Bath last year is reappearing in a refreshed version at ACEarts, Somerton, Somerset from 26 May 2018 to 16 June 2018. Curated by Paul Newman and featuring a stellar group of artists including Linn O’Carroll, Deborah Westmancoat, Howard Phipps, David Daniels, Andrew Lansley and Jennifer Newbury amongst others.
“A Few Lines Where Once I Danced” Ink on Snowdon cartridge 59cm x 84cm
I am delighted that “A Few Lines Where Once I Danced” has been selected for the Bath Society of Artists show at the Victoria Art Gallery where it will be exhibited until 12 May 2018. It’s a particularly fine selection this year, well curated and hung, so worth a visit!
“For Musicians Who Like Art” Acrylic on concertina sketchbook A5 format approx 5m long
Last week I also finished this piece I spoke of a few of posts ago, “”For Musicians Who Like Art”. The title is a play on Andrew Hamilton’s “For People Who Like Art” and whilst it is not meant to be representative of the music it is inspired by it. I have a lot of ideas how I might progress this work – and other work related to music. I am aiming to start trying some of them out on canvas and in collage, today, and I am keen to try out some ideas as monoprints soon.
“For Musicians Who Like Art” Acrylic on concertina sketchbook A5 format approx 5m long
“Art-as-art, Art-as-art, Yeah!” Pencil on Snowdon cartridge 59cm x 84cm
The title of this piece comes from Andrew Hamilton’s “For People Who Like Art” which I was listening to as I finished it off. The words of Hamilton’s piece are taken from Ad Reinhardt’s “25 Lines of Words on Art Statement” so my title is quoting a quote. I have been really caught by his music and I had already started work on an another piece (still in progress) inspired by though not trying to represent this composition, which I am calling “For Musicians Who Like Art”. Hamilton has a number of works titled, “For…” which echos some of the titles of another composer I admire, Morton Feldman. Notably, Feldman wrote “For Philip Guston” and “For Franz Kline” among other work about art or artists. So my title, “For Musicians Who Like Art”, is an echo of an echo. I will post more about this when i have finished it and have got some decent photographs. Andrew Hamilton kindly sent me the score of the piece and I am thinking about doing more work directly related to his music. (I also have it in mind to do some work responding to Meredith Monk’s work!)
If you want to hear my favourite recording of Hamilton’s “For People Who Like Art” by Crash Ensemble you can do so on SoundCloud
More Dirty Work At The Crossroads Graphite, ink and collage 59cm x 84Cm
I have been continuing working on my X Marks The Spot series which started at the end of the 50 Collages Before Christmas project I did last year. The last one I posted, X Marks The Spot Where We Buried The Hatchet took the work into the area of conflict, confusion and misdirection, so it is no surprise that I continued the theme when asked to exhibit at The Soldiers of Oxfordshire Museum, Woodstock, in Art On Conflict to tie in with Jenny Holzer’s SOFTER installation at Blenheim Palace.
The three pieces here will accompany X Marks The Spot Where We Buried The Hatchet to Woodstock in what I am sure will be a fascinating and provoking exhibition.
Forget Not The Righteous Tsunami Of Hokusai Graphite, acrylic & collage on Snowdon cartridge paper 59cm x 84cm
At Cross Purposes Erased graphite, Magic Tape and acrylic on Snowdon cartridge paper 59cm x 84cm