Diving into the world of video to experiment with this medium as another means of bringing my work to you.
During a recent photo shoot with local photographer Lance Bellers, with Emmet Ray’s “I’ll See You in My Dreams” playing in the background, we became aware whilst flicking through the gallery on his camera that the images took on a sparkly, jewel-like quality. Aside from being a great way of showing many images in a short space of time, the flickering effect of the fast-paced slideshow seemed to temporarily transport us from that sunny room into a different dimension. Through its connection to the images, the music worked without pretension, hitting just the right rhythm and mood, and prompting jokes that we had stumbled upon a new art form.
As my preparations for this year’s festival draw to a close, and with only days left until I begin the process of hanging my paintings at 2 Knoyle Road, I bring you this sneak peek of my 2017 collection. In addition to the original acrylics on canvas, my range of cards will also be available at the Open House for the duration of the festival.
You can expect more media experimentation in the months to come, but for now please enjoy this first attempt, and I look forward to seeing many of you during at Knoyle Road.
NOTES -On Being Human in Nature – notes after our conversation, for Michael and Alison.
You asked me what this painting was about, you said tell me about this painting, and I realised I hadn’t yet developed a relationship with it in words, but when we went to stand by it, I found some words.
The title ‘On being human in nature’ came fully formed to me, pretty much as soon as it was finished.
It is a large, mostly dark painting with a lot of deep greens and olives layered, but the dark is not forbidding or monolithic, it is actually very cosy and intimate, the shapes suggest being amongst trees or also maybe buildings, the slither of grey blue at the top is a tiny hint of clear sky above.
The application of colour is very loose, the marks and the scale don’t let you forget they were made by a human, very spontaneous; a surface too polished would have lost the meaning and been less inviting.
The area of lemon /lime green at the top left-hand corner signals a flash of intense light, like a glare, which reminds me of memories of seeing the headlights of a car in the night, on a country road, coming round the corner, when you’re not expecting it, which resonates in your eyes for a few seconds afterwards, a sudden glow in the dark, and this bright colour counterbalances the rest of the composition.
Pieces of me are found within the painting, sitting within an area of paler pink, a very small daub of flesh pink is on the far right top side – which seems to represent the vulnerable human, and also the almost hieroglyphic scratching into the paint on a deep rusty colour in the middle of the painting feels like a language, possibly representing some sort of vessel, what for (?); and these specific marks are made when I am in flow, they are not decorative; and if they were merely decorative, they would be removed.
You asked me also about the mark-making and the decision-making, why I make some surface textural ‘scratchy’ marks, and I said that these marks are partly showing energy, they express the human scale of me, involved in the canvas, the person making it, and they can be used for definition in places, where I’m trying to create depth or rhythm or balance between areas of colour and texture so that the composition works.
I suppose when I see the whole composition it brings to mind a feeling of proportion, how I fit into this world, which is huge and limitless, but I still feel part of it, and I still resonate within it, like that pink mark placed within these deep fields of colour, I create my own ripple.
But maybe it’s a reminder to look outside of myself, and my own mind, to remember to get a better perspective.
I was very pleased and excited to follow the couriers van to deliver this large scale painting to a friend /collector’s home last week – it’s in an amazing space opposite a beautiful large window – surrounded by a wonderful collection of art -paintings and sculptures #proud#grateful#buyartfromlivingartists#bestbitofmyjob
Nice image of the studio taken by @davidstaceyart for The Curator’s Salon Magazine – project of @thegitagoshi – one work in progress on the left and one finshed painting ‘Re Entry’ in my converted garage studio in Hove Uk
This little painting is still available to buy through https://7dialsart.com shop along with some other small works, two one-off giclee prints and my artist cards – alongside the work of a unique group of artists and makers, have a look at ceramicists and jewellery too.
Watch and embed this video on your website. Simply play and click on the embed icon upper right to copy the embed code. Series overview Acclaimed screenwriter and Endeavour creator, Russell Lewis, has adapted international bestseller Peter James’, Dead Simple, his debut novel from the award-winning Roy Grace series. John Simm takes the lead role of the tenacious detective.
— Read on www.itv.com/presscentre/ep1week11/grace
So lovely always to receive photographs of paintings in situ; Night tidal what is inspired by late night lockdown walk to the beach; the moon reflected on the inky water; ￼￼this collector also has ‘Tidal’￼ a slightly larger – piece about the sea in Kefalonia Greece – I am very grateful that she decided to have them both in 2020 – a difficult year for showing work – this kind of support keeps us going￼.