“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.
Although I had been invited to participate in the first of Lydia Needle’s “50 Bees: the interconnectedness of all things”, I was too busy to be able to accept. So it was wonderful to have a second chance this year. Lydia has chosen 50 British bee species and allocated one to each of the artists involved. Each artist has created their own original work in response, which will be paired with Lydia’s amazing needlefelt representations of the bees encased in antique containers. A really diverse and talented group of artists and makers have made some phenomenal work, so the exhibition at the Richard Jeffries Museum in Swindon is worth a visit if you are that way.
My bee is Hylaeus brevicornis, the Yellow-face Short-horned Bee. Lydia apologised that there was not enough space to have a full artist profile for everyone but asked for a 100-word statement describing the process of making the work. This is mine:
“I make abstract work, often minimalist and repetitive, that explores the patterns and processes of Nature, especially the interplay between chaos and control. To be asked to create work about this tiny bee was outside my typical process. To do the task justice involved much research, scribbling, play, thinking, interconnecting with everything, planning, discarding and then being somewhat more reasonable. It became clear that I could never explain the process of arriving at the work in my allotted 100 words, so I made some the words part of the artwork. I will only explain more to whoever buys the piece.”
Those of you who share my joy in complying with rules will note there are exactly 100 words in the statement. That might give you an idea on how you might access the work
The show runs till 24th June 2018
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.
I really like the energy of Bath’s FaB Festival and the Bath Open Art Prize that for me is at its heart, so I am hugely pleased to be included in a show which unashamedly includes work that is quirky and unusual. The show is on at 44AD from 25 May to 10 June 2018
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.
This is a piece that I started maybe a year ago! I finally made time to finish it off. I suppose it fits in my colour field drawings but it has a closer connection to my Tidelines work
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
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.