Just digitalized two recent paintings “Icy Landscape” and “Tower”.  After “Whatever the Weather”, and enjoying painting with a lesser number of colours, I’ve taken the plunge to paint with just one, and just two, very watered down acrylics, and what a pleasure that was.  Working on the bare canvas with various textures and fillers created an interesting ground for working on top with the dilute acrylics.  These two paintings are almost like notes….There are a few passages I will take special note of, and just having them up on the wall serves as a memory aid and reference point for elements which I may well use again.  Though I have got very much into experimenting with different hues over the year, and in particular, experimented with  varying pigment load in the paint, to work in this delicate way, both with boldness and yet also paying attention to the finer details, and to see depth created in a kind of watercolour way, is very exciting and definately a path to travel on in the future.   Maybe a little return to my work with oils during 2010?  Oh, oils would be a fine thing with more drying space.

Not great to view paintings like this on the net, because of their need for close observation under good light in order to appreciate the tactile qualities, however, must do.  The fragments shown might help.

Starting with the end of my title strand, rather than the beginning,  with notification that my old website www.jennymeehan.co.uk is now no longer operating and instead of www.jennymeehan.co.uk, I have a new site www.jamartlondon.com.   I think the new website www.jamartlondon.com might risk sounding a little pretentious, but my reasoning is rather basic.  I liked the Jam part, because a while back someone nick named me “Jenny Jim Jams” which sounded rather nice and relaxed, and I liked it as a nick name.  Also my initials are JAM and I now sign my work this way.  There were already a couple of websites with jamart in the title, so www.jamartlondon.com, with the location included, seemed a sensible option.   So http://www.jamartlondon it is.   and the com is pretty meaningless, of course, but seems the preferred ending for a website if you can get it.

Though the weather is cold and uninviting,  I find this time of year very good for research and getting around London and the surrounding areas to see what other artists are doing.  The value of looking at other peoples work should never be underestimated.  Artists both past and present work in distinctive ways which only add to inspiration and clarification of where we ourselves are located.  What is more, it brings joy, to see creativity expressed in so many marvellous ways.

When visiting Wimbledon Art Studios I always pop in and see Andrew Fyvie’s  www.andrewfyvie.co.uk      tactile and skilfully constructed sculptural pieces which sit so well next to the collages of Paul G Emmerson, ( no site,  paulgemmerson@tiscali.co.uk)    and artistically strike the same kind of notes, rather like different musicians in an orchestra or something like that.  I like very much Paul Emmerson’s latest work: the longer format works very well, and the panels at the sides are in accord with the general “interiors” feeling…maybe in my mind suggesting movement through one space to another, (rather as moving from one room to another).   I think this may be the thought behind my feeling.   It was very pleasant to actually meet Andrew Fyvie, as I have not done that before, and learn more about how he constructs his work, and about some of the materials he uses.

While this causes a certain amount of conflict within me, (as I do like a bit of 3D form making myself), and now I have a list of a few materials I would like to try out,  it is worth suffering the tension of a pull to three dimensionality, because this is not a bad thing for a painter to feel.  I am aware, for example, that when I visit exhibitions with both paintings and sculpture in them, it is normally the sculpture which leaves the greatest and most profound impression on me.  I think this is because of the tension in space.  Hard to put into words, and I am most probably terrible at it, well, (at least compared to some other very accomplished writers) but I have been thinking about space experience when viewing paintings and space experience when viewing sculpture.  The fact that I have to walk around sculpture is dynamically engaging.  The physical space between elements/parts/features of a sculpture has a presence which is more intimate, more enquiring of me, in terms of emotional response.  It is more blatant. More intrusive. More confrontational.  On the other hand, the space experience in a painting is more of a suggestion.  It is generally more fickle.  There are more whispers?  Sometimes less reliability?  (Light will change the surface of a sculpture however, so alterations come in that way.)  Light on a painting also changes… something I have been experimenting very much with myself recently and most probably the reason for my focus on texture and the different ways I can make light bounce off the surface of the canvas.  This can alter the way space is perceived in a painting too. And this, even without or with very little colour, as I am now exploring, which I will post up soon no doubt.  But I think that because of all the angles that light approaches a sculpture, there is  a  more lasting  and immediate presence.   Plus the contrast between solidity and space.  It is greater.  (I stumble and trip with words, as I alway will do. I will continue to mull, pointlessly, over the matter! )

AM interested in this attraction I have right now.  I like paint too much to do without it.  However, at a recent visit to Poussin Gallery (Bermondsey Street, London SE1 3UW) to see “Douglas Abercrombie: New Paintings and Peter Hide: New Sculpture, it was Peter Hides emotive heavy but fluid steel constructions which caught me in themselves.  Not keen on the smaller pieces…the scale of the larger works fitted better with the work in my opinion, but the way he uses the steel , from the folded “soft” areas, and the harder more angular forms, to the little incisions and the “bites”…the “damaged” areas to the carefully attended to part: this all worked together in a perfect balance of, well, I guess I am back to the structure and flow idea.  I do like steel too, of course.  And having spent a good few pleasurable hours manipulating it myself, I understand (a little) and respect the skill involved in creating these sculptures. That oxidised surface too…like velvet.    See   http://www.poussin-gallery.com/site.php?exhibition=44

Popped  in to see Paul Lemmon http://www.paullemmon.co.uk/   and enjoyed seeing his recent work, which I like very much.  New subject matter…figures by water, sun splashed, and lots of diagonal brushstrokes, (as previously), but something is happening which I am excited to see…lots of the new studies have a greater presence due to less markmaking but strokes placed with the benefit of further years of painting experience, which comes across more strongly and I think even more effectively. Something is moving forward.  This is essential to any artist, progression.  I am very much looking forward to seeing what happens, and one of the reasons I make a point of visiting Wimbledon Art Studios regularly is that I find it very interesting and useful to see different artists work over a span of several years, as the interest lies not only in the products produced but viewing what is happening from a distance.  A distance that is only possible with the passage of time.

Took a look at the work of Vaughn Horsman     http://www.grasshopper3d.com/photo/photo/listForContributor?screenName=34slbq8vl7o4e    who has only been at Wimbledon Art Studios for a few months.  Got very excited about this work.  One, I love wood and this appears to be his main material and two I have for many months been thinking along the lines of what makes a beautiful work of art is a balance between structure (I guess I mean mathematics…in the sense of forms being geometrically based/constructed…((for me as a painter, then we would speak of the grid, I suppose) and illogical, random, flow…organic, free formed, with no underlying determinate.  So, of course, I loved these creations.  How exciting to see!  It is new to me, and encouraging because I really do feel that this is something significant…and to see digital technology in tandem with practical, manual skill has got to be good.  We live in a different age, the whole thing seemed to say to me.  (At the risk of sounding profound!)  I teased him about  the whole thing being  Geeky.  (But that is a positive, in my opinion, if you are creating things like this!) I trust that forgiveness is extended my way!

Spurred on by the wonders of technology, I have taken some time for some geometrical playing around myself, and have come to the unexpected place of rather enjoying flipping various shapes around in Photoshop.  This is, I think, of use to me…just the sheer speed is helpful and it is allowing me to experiment with what may well become some underlying structure/composition to use in later paintings.  I am undecided right now, but have recognised on reviewing my work over 2012 that I do like to have a strong sense of structure in my work, and the paintings I felt would take me forward into the following year are indeed the ones which had plenty to hang the fluid and well, more illusive, marks, gestures and accidents on.  (Nice title for a show that, “Marks, Gestures, and Accidents”…must make a note of that. ) Some of the playing has produced imagery which I will get printed onto paper, and then play about with it that way too, maybe with some cutting and some paper stencils, which I am most fond of.  Some of them I feel have reached their own ending, though it is too tempting with Photoshop to experiment…forever.   Paint is better though.   Here are some of my playful experiments:

It is such a delight to experiment so freely and fluently with composition, and I will continue to develop and play with some of the experiments over the Winter Months.  It is likely that after a few months of working with these I will select some and get them printed out for one of my exhibitions next year.  It’s only by doing that you learn, and being able to work with shapes, the symbolism possible through different combinations, and quickly altering basic colours (while no way as subtle as pigment, for a rough idea, the screen colours are fine)is just great for me right now.   I cannot afford to experiment in this way physically due to time and money/material restrictions, and using Photoshop at least provides some foundational sketches, some of which might well end up being used in paintings, and others which may well stand up on their own two feet as prints.

I’m FREEZING!  Keeping the house warm in one room is fine, but means that walking around the house becomes very daring, as I disturb the air, and wonder if I really can wear gloves indoors?  Why not?  No reason.  Just feels odd.  It is soooooooo tempting to turn up the heating, but just a small thought of rising electricity and gas bills quickly changes my mind. (Quick diversion in discourse!)

 

Lots of impressionistic scenes.

Lots of weak non-objective painting.

Those were the negatives for me.

But each to their own, and if it sells, it sells, and that’s what this event is all about.   And we all have our own likes and dislikes.  I won’t complain, I won’t explain. 

BUT!!!!   Standing out for me, oh JOY, I found myself meeting two paintings by Philip Maltman, who I have not come across before.  I liked “No Leaf” the best.  My heart!  How inspiring to see painting like this!  Philip Maltman’s painting was at the fair via ArtDog…

www.artdoglondon.co.uk

Other bright lights for my visit:

John Scarland “Large Picnic”, Dooze Storey “Red Bow”  Charlie O’Sullivan “Gathering Thoughts on an Incoming Tide” (Nice Title too!) Roisin O’Farrell “A Moment of Truth”  De Angel “Power Struggle” Nicholas Chistiakov “The Red Room with Two Visitors” Relton Marine “Low Row II” and Russel Frampton “Winterbourne, Droves Road”.

They will be in my notes, for sure.  What interesting work.  I find it vital to identify artists and particular paintings by them, in order to spend time looking and learning from the evidence of their hand and eye.  Skill is learnt, and it takes years of experience and years of  study.  “Gift”  is not something which you are just “given”; there is an element of that, yes, but it must be grown and developed, and this takes practice.  I am finding at the Art Fairs I am making a point of visiting right now that in some painting, the years of work reveal themselves…You can actually see it in the painting.  It’s an almost tangible sense of what the eye has seen and the traces it has left on the painting (and this is the same for non-objective painting!).  I think it’s about inner vision, being communicated.  Wether expressed through recognisable objects or not, there seems to be a point at which you can say this has been successful or not, and it is the somewhat mysterious “point” (which maybe is the meeting of the emotion and intellect) along with the drive, of the artist, and the meeting of that with the materials, which creates a kind of joyous and beautiful creation.

My visit to the Affordable Art Fair has pretty much sealed my decision to concentrate on non-objective painting this year, even though I struggle internally with the feeling that I OUGHT to be painting objects!  If people don’t have the eyes to see non-objective painting, if they don’t give it the time, if they don’t give themselves the time, then let that be their loss. Not mine. One has to stay true, and I haven’t signed a contract with myself not to paint representational paintings; there is a time and a season for everything.  I can always indulge myself with a little obvious subject matter, if I please.

I think it more pressing right now to work on developing an intimacy with my materials, and I feel that through this, whatever I do, my painting will benefit.  There is also the need, whatever goes on around me, to bury myself in what I am painting in the moment I am painting it.  I loved the painting of all those painters I have listed, and I will, as always, take the time to find out more about their work and see more of their paintings.  It’s on my agenda this year to widen my awareness of what is going on around me, and I am already learning a lot through this process.  It’s helping me steer my own way ahead, and enabling me to develop more focus and direction in my painting.

I’ve also been to see “Die Harder” 22 Feb – 6 April at Southwark Cathedral.  An amazing sculpture by David Mach RA.  The blurb says: “The figure of Christ in paint and anguish pierced by thousands of spears, that single body acting as a conduit for the cares and woes in the world.  That body can feel everything and the hangers don’t just pierce: they stand on end, electrified like thousands of antennae transmitting messages out into the word and receiving them back simultaneously”

http://www.davidmach.com/precious-light-2/

I’ve started another blog, with Blogger:

http://jennymeehan.blogspot.co.uk/

It’s going to have pretty much the same as this one in it I expect.

I’ve just seen the Joan Mitchell exhibition of some of her later works at Hauser and Wirth http://www.hauserwirth.com/ and LOVED the scale of them.  I also noticed a little iridescent paint on one of them, which I am experimenting with myself at the moment.  I have been drawn to her painting for some time.   I love the sheer single-mindedness of it.

“Contemporary Artist”  Mmmm.  Images of pretension stand before me, and I don’t like them.  But when people look for visual art on the net, they look for “art” and “artists”.  So I have to settle for that.

Back from an excellent course at West Dean College led by Ted Vincent.  “Woodcarving” was great…I like wood, I had a feeling I would (Ahhh! I did not intend that pun!) and I learnt some very useful things, most importantly for me how to sharpen my tools and which tools to purchase.  I will carry on, maybe not in 3D…I liked working in 3D, but I have been wanting to try out some woodcuts.  It’s a logical next step forward. 

Here’s an image of my produce.  I am playing around with how I like it best arranged, and since taking this image, I think I have found a better way, but here it is for now.  I also have some small adjustments to make.  I have to admit to a certain complacency on day three of the course, as I had done the majority of the cutting, and I wanted to practice sharpening tools.  So I faffed  about.   I liked the polishing wheel and the grinder: it brought back memories of my Dad, a Locksmith and Toolmaker, and I spent a fair bit of time first making tools blunter than they were when I got hold of them, and finally making them sharper.   

 

Still have some adjustments to make.  Was a lovely course, great tutor, really helpful and encouraging.  Did a fair amount of research over the time there too.  Looking at Paul Nash (again!), examples of Japanese pattern/printmaking, and Christian symbolism.   

 

I could make that title so much more wordy,  if it wasn’t so early in the morning.

My feet now are recovered from my thirteen hour walk around this years London Art Fair. 

I joined a guided tour led by Pryle Behrman Curator of Art Projects, and I was glad of this because it was interesting and nice and relaxed, not pretentious, which I feared.  He said that he would be happy to talk until “the cows came home”.  I am still waiting for “the cows to come home”, and so the talk I imagine is still in progress…

What stood out for me, alongside waiting for the cows to come home, was, of course, some of the paintings.   Judith Bridgland’s paintings hit me like a kick in the stomach, which doesn’t sound good, but does at least express a little bit of the punch which someone who handles paint like it springs from the tips of their fingers can give to a viewer through the experience of looking at their work.  I am not a great lover of thickly applied paint generally, but when its done like this…I love it.  

Seeing one of Henry Moores prints on hessian was also a highlight for me.  The scale and physicality of the print on the surface of the hessian was something which i have wanted to view “in the flesh” for a while.  It made me note down to remember to experiment with some hessian in my own work.  I’ve done it before but didn’t like it.  However, that’s never a reason not to try something again.   The Boyle Family’s work “Study For The Fire Station With Melted Records” 1989 (Painted fibre Glass) was another beam of similar happiness because to see the actual work in front of my eyes was a proper encounter and one which I have wanted for longer than I can remember,  Well, I can just remember stumbling across their work as a teenager;  it made a huge impression on me.  Looking back on my own work over the last few years, particularly the series of photographs of the ground in my local area, I can see how it seeped into my life unawares.  The unexpected benefits of pushing pushchairs around my locality!

I purchased a book on Michael Honnor.  Because I like landscape paintings, and while I don’t sit outside much and paint myself, to see his work reminds me that I ought to.  Plus I like very much the way he draws into the paint and I need to be continually reminded of that!  I have a notebook full of other painters and paintings which in some way “fed” me, and reminded me either of something which I have just started, or need to try out,  in terms of technique or subject matter.  It’s quite beneficial to see such a mix of work in one place and as the time goes by you gradually recognise more clearly what it is that you are personally drawn to. This itself can be quite helpful in terms of being able to recognise what you love and where your passion and interests lie, and, free to see it in others work and not your own, you get ideas as to different ways you might extend your own experiments.  I am sadly lacking in the amount of critical input I would ideally like in my painting practice right now, (apart from a few fellow painter friends), however, one must be one’s own critic and sustain that position throughout.  I know.  I like other people’s perspectives though.  They are so much more interesting than my own!

On the Duncan R Miller Fine Arts stand “Paxos Fishing Boat” beckoned me…A boat with flowers tied to the front of it.   I’ll say no more, but remember this, and resolve to explore this motif for myself sometime. 

Robert Denny’s 1958  oil on board  painting  (June 1958) cried out for more space, and it’s a problem viewing large paintings in settings like this, but what an inspiration it was.  Very strong dark and light compositional structure held the mixture of strong, heavy brushstrokes with the lighter more fluid areas.   I took some time with this painting, asking “What exactly makes it work so well?” and returned (once more) to the underlying conclusion, (which seems to be proved to me time and time again), that when the composition is right, you can do whatever you want and it will look good.  Well, maybe not “whatever” but let’s just say, you can manage to carry things off in a respectable manner! 

So I leave the fair, full to bursting with paintings I need to paint.  It’s painful, these time limitations and so I must make a hasty exit from this journalling matter to at least increase my chances of getting some block of time today to get some painting done.  I’m pleased to say that I haven’t seen anything like some of the directions I have in my mind to pursue, so that’s good.  Nothing is new, but it’s exciting to think that in some small way you might be wandering off the well trodden path into an area of the forest which is relatively unexplored. 

 

 

“Calm”.  Doing my usual thing of playing around on the computer at this time of year, with different drawings and paintings.  I like black.  Working on several black and white images and extending my skills with Photoshop.  Paths. Effects. Layers.  Fun.

Working on some paintings, some oil, some acrylic.  It’s handy to have both mediums: I wouldn’t have space to dry all the oils, and as acrylic is quick to dry, the problem is solved.  Made a nice medium today with sand, which I like the texture of.  Some pigments I slaked a while back have gone a little mouldy…I did put some whiskey in, which I thought would solve the problem, but there’s still some mould there.  Mind you, easy to scrape off. 

Because “fine art” is now so intellectual, so conceptual, so theoretical, I cannot be done with it. 

It takes me away from my paint, takes me away from the emotion which fires my painting, takes me away from my instincts.  Takes me away from focusing on what I am doing, and makes me self-conscious, which is a very bad thing.  I feel “painter” sits more comfortably.  I have to use the word “fine artist” for the sake of google and searches and suchlike.  Visual Artist is better.  Visual Communicator is even better. 

 

Made time today to enjoy my book “Ivon Hitchens” by Peter Khoroche.   My favourite eye resting place today was “Summer Water, Morning 1961”.   Had a little peep at John Hitchens’ website, intrigued to find out what his son’s paintings are like.  I liked what I saw on the site..Abstract landscapes, confident, interesting.  Also found a good source of  fodder for browsing through in the BBC website “Your Paintings”.  See http://www.bbc.co.uk/arts/yourpaintings/

As I swing in my mind between the virtues of painting from life (the outer kind) and painting from life (the inner kind) I wonder if I waste my time with the dilemma; I suspect that I do.  This is not helpful. What does it matter?  I suspect also that it is too much concern with the reception of my painting, and too little concern with faithfulness to my inner drive.  Looking through my Hitchens book is always helpful to me in this respect, as I see the paintings do not suffer the concerns of others, but only the person who painted them, and this is exactly the way that it should be.

I am in that funny place just before an exhibition.  I have abandoned all hope (this always happens!) and feel flung into the pointlessness of it all.  This might sound bad, but I am getting used to it.  It’s almost routine.  I understand that Picasso felt so bad sometimes about his work that he refused to attend some of his own exhibitions, and if he felt like that about his work, then I am pleased to feel the way I do about mine.  

It will pass.

 

 

 

Now is a time for me to look back on work carried out over the year.  This painting “Break Out/Promised Land” was interesting to paint.  I concentrated on bringing texture and different surfaces into play and it was quite nice to let the textural information inform choices in colour and the direction of the next marks or brushstrokes.  I let the painting grow naturally, so I didn’t have an idea from the outset of how it would develop, but seeing it at the end it rang true.  I have learnt through it, which is my main objective.  It would be nice to do some more of these,  and it is the case that acrylic paint is just the right medium to use for paintings like this.  I always feel slightly disappointed with the colour intensity of acrylic paint, though adding pigment of course is always an option.   I have not painted with an acrylic underpainting and oil on top yet… so maybe this is something I might explore next.

Looking back and reviewing work this year.  A lot of experimenting with texture.  And pigment.  A lot of painting done from an uncertain beginning but somehow finding itself in the process, and other paintings with a clear design, which only have a small element of unpredictability.  This painting “Sack Of A Great House” came straight from the unconscious into being, and rang true, which is pleasing.  However, I hope to spend a little more time soon with a clearer idea of subject matter from the outset…Not so much as to ruin the important role of the process, but I think the painting I have done so far suggests that I can trust myself to express what I want, and with that knowledge, I feel confident to set to the business of painting with more assurance than I have so far demonstrated.  There is always a strong sense of direction, even in the most spontaneous painting.  Maybe I should create more of an environment for the imagination, pull things in a little tighter, and see what happens with that?

Rain, Rain,Rain.

I just want to put the final coating of Keim 694 Waterbased semi-permanent anti-graffiticoating ON THE MURAL.  It’s sitting here in front of me, but cannot be used “if rain could fall within 5 to 6 hours”.  The way the last few days have been going, all my expected times and days have melted into the ground and evaporated!  I haven’t even seen the mural since John last came in to finish the cartoons, so I haven’t even seen it finished yet!  Hopefully one day next week….

Once I have coated the mural with the anti-graffiticoating, I will be working on a presentation on the whole process for the school.  And then the work really will be finished.  I have to say a really big thank you to Keim Mineral Paints again for their part in the project, which in the end turned out to be very significant, because I found their silica-sol paint “Soldalit” of great use for the linear parts of the painting, and John used this for the cartoons too.   I now intend to continue to use Soldalit for other exterior murals I paint, as the colour range is fantastic, and though I like to mix up my own colours, (as I did for the colour areas of the Trafalgar Mural, using the Beeck Full Colour mineral paints), it does save a lot of time if the colours are already mixed.

I’ve learnt a lot from this project….

1.  I love and hate the weather, but it’s kind of nice to be subject to it. 

2. Some companies have great customer service, and others need to improve.  However great, you can only build on the foundations below you.  That means, every little person matters.

3.When you paint murals on party walls, it can take a long time and a lot of effort to get permission to do so, but if you use a porus silicate mineral paint, there is no good reason for refusal, as the wall can “breath”, so no damp issues arise.

4. Don’t assume anything

5. Children are worth working with.  My thanks to the lovely children who painted with me, and to all those wonderful artists who produced such amazing cartoons under the expert and sensitive guidance of John T Freeman.  If the mural was bigger, all the cartoons would be in the mural…every single one.

6. It will ALWAYS take longer than you think, and extensive preparation, including research, is always worth it.

7.  The composition has to be right.  If it’s not, don’t bother. 

8.  Silicate Mineral Paint offers the best colour quality possible, far superior to acrylic paint in terms of its ability to reflect light.   Having spent hours looking at the difference, I have no doubt in my mind about this matter. It’s beautiful.  It is more demanding to use, but it’s worth it.

9. Take the rough with the smooth…In this case, quite literally.  The wall surface was rough!  Painting straight lines on such a surface doesn’t make much sense, but as they say, “where there’s a will, there’s a way” and nothing’s impossible.

10. Give generously, receive generously.

It might seem a bit early to put this down, but as the rain is stopping me from going any further, I might as well do this now.  I would like in the future to put together something on practical techniques for mural painting with silicate mineral paints to help others who might consider using this type of paint for exterior or interior murals, but to be honest, I have so much happening right now I cannot see myself being able to do this for sometime.  I now have work to sort out for exhibition at the Rose Theatre in October, Gallery 63 in September, The CornerHOUSE in December and later on Leatherhead theatre in May 2012, which is great, but means the mural work has to stop for a while.  I am working on a mural in a garden, just a simple grey and white one  .I would like to do another exterior mural at the school later next year.  I’m also in the process of applying for the Artists Access to University Scheme, at Kingston University in order to develop my practice.  That should be enough for now,  plus running the house, and all that domestic bliss!  

By way of a little deviation, some images of other things I have been creating!

 

 

 

I can’t resist the odd photograph now and again.  

Pencil sketch done at West Dean College during last stay recently

Another part of the journey....

 

I thought I would continue with non-figurative painting for some time, but I am wondering right now if it might be best to push myself back into the representational arena for a while…It’s not that I don’t like working with no specific focus, because I feel the focus is there under the surface regardless of what one sees on the canvas, but there is something that affords a painting more accessible to others if it contains objects and as we live in a world full of objects maybe it might be an idea to pick some up from time to time and work them into a painting.  These can be from the imagination of coures, they don’t need to be taken from the “outside” world.  Also, though I meant to do this sooner, I still have many potential paintings I wanted to paint based on my immediate environment.  And while the sky here is wonderfully vast and interesting, there’s lots below it.

I think its a good idea for any painter to move from one to the other, I mean, from objects to no objects in painting because one should pay attention to the physical qualities of the paint and whatever form your painting takes it’s a valuable process in itself.  You can always cast it away afterwards if you want to.  There’s no contract involved!  There is maybe, at least there was for me, a slight concern that if you drop painting objects you will be in a place of “no return” and your destiny is sealed. Maybe for a lifetime of people, confused,bemused, and less able to engage with your painting, because they cannot “see” anything in it. 

What is life like?  Can we “see” things with a focus all the time?  Is it always clear to us?  Is it sometimes figurative and sometimes not?  I look back with interest on the path that my photographic work took, from very photographic photographs, to images resembling linocuts, well, in a kind of “photographic linocut” way, to blurred images, and then, to black and white, contrasty and detailed type images, mostly of trees.  The order was not so ordered as this sentence with its logic falsely suggests, but vision is ever moving and ever changing, and I think it would follow then that in terms of expression, painting would be as ever, never fixed!!!

Ramble over…..

What a pleasant walk.

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