Category Archives: 2014 – 2015 academic year

More So, More Informed

I have 20 works, tiny and small strewn around my studio.  Colour and confusion.067

I have so much going on in my head but no clear focus.

I am taking the opportunity to go back to Stewart Geddes’ suggestions for artists I should explore.

Arena’s ‘John Hoyland, 6 Days in September’ John in his London studio in 1989 (Photo © Ferdinando Carppanieri)

John in his London studio in 1989 (Photo © Ferdinando Carppanieri)

http://www.bbc.co.uk/iplayer/episode/p025lrcy/arena-six-days-in-september followed the artist, his process and his pain.  The physicality of the work on this scale, with ‘marks containing the energy of the stroke’, left the viewer in no doubt that painting is not a relaxing occupation.  Hoyland referred to the influence of Nicolas de Stael, Emil Nolde, Henri Matisse and Paul Gauguin, all known for their use of colour.

Matthew Collins Rules of Abstraction  https://www.youtube.com/watch?v=6sHZglp_s14 traced the history of abstract painting from it’s roots in theosophy founded by Helena Blavatsky, to the spiritually guided work of Hilma Af Klint, and Kandinsky’s manipulation of colour/shape/line and its effect on the soul.

Hilma af Klint, The Ten Biggest, No 7 1907

Af Klindt -The Ten Biggest, No 7 1907, Oil and tempera on paper, 328 x 240 cm http://www.tate.org.uk/context-comment/articles/first-abstract-artist-and-its-not-kandinsky

Kandinsky,

Moscow I - Wassily Kandinsky - www.most-famous-paintings.org

http://www.most-famous-paintings.org/Moscow-I.html

who wrote The Spiritual in Art, studied with Rudolf Steiner who was a follower of Blavatsky.  Kandinsky referenced music in his work, suggesting that colour is like playing the piano.

Fiona Rae working in her studio demonstrates the emotional attachment to painting ‘something that doesn’t exist’.  Fiona Rae

http://www.johnjones.co.uk/case-studies/fiona-rae/

She spoke of the rule of surprise, the rhythmn, the structural integrity.  No focus but different zones of intensity, an overall experience, and the importance of not repeating colour/brush size.

The French artist Sonia Delauney created ‘electric prisms’ using colour and form to celebrate light by optical vibration, a reference to Chevreul’s Colour Theory and Its Consequences for Artists.  Sonia Delaunay website banner

http://www.tate.org.uk/whats-on/tate-modern/exhibition/ey-exhibition-sonia-delaunay

A friend of Kandinsky and wife of the abstract painter Robert Delauney, her subtle adjustments of colour create spiritual harmony.

Scottish artist John McLean suggests that treatment and placement are important for forms to emerge.

http://www.poussin-gallery.com/site.php?exhibition=58

Paul Klee, conteporary of Kandinsky at Bauhaus, observed nature with tonally graded transparent colour.  His work completely changed following a visit to the Kairouan Mosque in 1914.

Paul Klee: Saint-Germain near Tunis, 1914http://www.swissinfo.ch/eng/-klee–macke–moilliet_the-trip-to-tunisia-that-changed-modern-art/38391666

Klee and kandinsky were considered to be degenerate artists, distorting reality, with proposals for what perception actually is.

Collins and his artist partner Emma Biggs create works of pulsating light and dark.

Melchior http://www.charlieduttongallery.com/IMAGES/Art%20HP/Emma%20&%20Matt.html

Piet Mondrian believed that shapes define themselves by their difference.

http://www.radford.edu/~rbarris/art216upd2012/absolute%20abstraction%20survey.html (an interesting article on the history and spirituality of abstraction.)

Vertical male, horizontal female.  Tension and contradiction.

Theosophy suggests that all imbalance will be balanced .  German philosopher Hegel’s  historicist and idealist account of reality revolutionized European philosophy and was influential to Marxism. Historicism places great importance on cautious, rigorous and contextualized interpretation of information.

Tess Jaray creates ambiguity in her work.

Tess Jaray | Artist

http://tessjaray.com/

What is in front, what behind?  Inviting the viewer to participate.  Intense colour achieved through screen printing, creating a condensed version of reality.  (there’s that word again!  My reading this summer has lingered around that concept, more in a separate blog.)

Russian Kazimir Malevich, famous for his Black Square 1915, introduced Suprematism, simple forms, an abstract world beyond every day reality.  The white edge equals void.  Supremacy over feeling, feeling separate from reality.  Fourth dimension, time warped by space.  Theosophy into painting, new form of reason.

Kandinsky believed form is feeling.

In 1916 Popova joined Malevich’s supremisists group

Lyubov Popova – Violin 1914 http://www.art-prints-on-demand.com/a/popova/violin-3.html

Her abstraction striped to form was used as textile design.  Such abstraction was replaced by propaganda.

In America, Jackson Pollack, was creating a ‘visual symphony’ through the use of tightly controlled rhythmic structure, the materials and the range of textures.

English artist Paul Tonkin creates harmony through energetic pouring and under-painting, with a life and rhythm of its own in vibrant colours.  The huge canvas is then cut into rectangles for separate paintings.  Drawing is movement.  The colours work together talking to the artist.

Paul Tonkin preparing a canvas in Mathew Collins documentary  https://www.google.co.uk/search?q=paul+tonkin+artist&espv=2&biw=819&bih=546&tbm=isch&tbo=u&source=univ&sa=X&ved=0CC0Q7AlqFQoTCMz53oSU7MYCFTAG2wodE9oNJA#imgrc=z8r-IGDxWJcIjM%3A

English artist Dan Perfect works to a plan.  He takes a small drawing and scales it up, as if performing a musical score.  Quick, evocative expressive marks, an imagined correlation of an extrovert world.

Village

Dan Perfect – Village 2007 http://www.saatchigallery.com/artists/dan_perfect.htm

Russian American Mark Rothko created a breathing surface, the whole of existence, a cosmic unity.  The experience of redness and darkness is celebrated in this work.

Mark Rothko ‘Black on Maroon’, 1958 © Kate Rothko Prizel and Christopher Rothko/DACS 1998

Back on Maroon 1958 http://www.tate.org.uk/art/artworks/rothko-black-on-maroon-t01031

A troubled soul, he was a philosopher/priest in a Rothko centric world.

Albert Irvin, a friend of Stewart, was informed by his movement through the world.  Brushmarks were his verbs, painting his landscape.  His reality was layered through colour.

Albert Irvin, Rosetta, 2012
acrylic on canvas, 60 x 48 in/ 152.4 x 121.9 cm

http://www.gimpelfils.com/pages/artists/artist.php?artistindex=8&subsec=1

El Anatsui, a Ghanaian sculptor,  pursues the themes of memory and loss in his sculpture, especially the damage wrought by the colonial period and traumatic post-colonial aftermath.

Man’s Cloth is made from recycled bottleneck foil.  A metaphor for delusion.

Welsh artist Mali Morris MFA, works with colour, light and rhythm.  In his essay  http://www.malimorris.co.uk/profile/texts/matthew_collings_essay.pdf Matthew Collings ‘ spontaneity and chanciness, and having faith in the unprepared gesture but also a sense of knowledge and experience informing the various giddy leaps that the artist takes. ‘

Mali Morris Lost Light 2012 acrylic/canvas 25 x 30 cm at RA Summer Exhibition, 4 June – 12 August 2012

Dennis Creffield studied with David Bomberg at Borough Polytechnic.  This recent work captures his energetic approach to painting that hasn’t diminished with time.

20110912 135033 GoSee:Dennis Creffield Jerusalem at James Hyman Gallery

Jerusalem 2011 http://fadmagazine.com/2011/09/12/goseedennis-creffield-jerusalem-at-james-hyman-gallery/

Stewart also referenced Monet, a jazz musician inventing round a theme, Emil Nolde with his intense use of colour in a more figurative way, ,

http://pictify.com/464913/emil-nolde-lake-lucerne-1930-watercolour-on-japanese-vellum

Americans Richard Diebenkorn with his subtle abstracted figurative work,

Richard Diebenkorn Ocean Park #79, 1975 Oil on canvas 93 x 81 in. (236.2 x 205.7 cm) Philadelphia Museum of Art, Purchased with a grant from the National Endowment for the Arts and with funds contributed by private donors, 1977 ©The Estate of Richard Diebenkorn Image courtesy the Philadelphia Museum of Art

Ocean Park 79 http://www.glasstire.com/socal/2012/05/03/richard-diebenkorn-at-orange-county-museum-of-art/diebenkorn_ocean-park-79/

Provincetown - Helen Frankenthaler

and Helen Frankenhaler, and Cecily Brown

Cecily Brown, ‘Carnival and Lent’ (2008).

http://www.nysun.com/arts/reading-between-the-linens-cecily-brown/86539/

Reflecting on Stewart’s direction

I have written this journal as a snapshot reminder of where Stewart sees my influences.  I have picked and prodded through his artists, peeling away to reveal what he is seeing.  Scrolling through the journal I am astounded by the colour, the layers, the footprint, the history of the work, encapsulated in single images.

Each artist comes from a different place, has  a different process, uses different references, but they all arrive driven by colour and form.

Stewart suggest looking at brush strokes and energy, start with a photo and respond to the materials, the rest will follow, it cannot be forced.  Watching Shani Rhys James at work https://www.youtube.com/watch?v=YW8LjuROyPA reinforces the message of Hoyland’s ‘6 days in September’,  painting is a lot of ‘stand and stare’, patience, challenge, emotional response, sensitivity, seeing with creative eyes.  I like the way that Rhys James is digging within, challenging the viewer, making them feel uncomfortably moved.  She constructs images from memories.  I can’t access those memories but I have photos from which to develop those memories, to spark my emotional response.

Shani Rhys James, The Rivalry of Flowers

The Rivalry of Flowers 2

I can relate to where she is coming from, her use of colour, emotion and form, her seek and find approach to figures.

Advertisements

The Age of Insight

Reflecting on the first year of the MA I needed to consider where my interests lie.  Over the last few years I have become increasingly interested in the unconscious mind and it’s many guises,  memory,  emotions, intuition and creativity.  What started with Neurolinguistic Programming and coping strategies for the challenges of life, including depression and a family history of dementia has expanded to encompass everything I can find to give greater insight into the unconscious.  When Monika mentioned Eric Kandel’s recent publication The Age of Insight, the quest to understand the unconscious in art, mind and brain (thank you Monika), I was fascinated.  Nobel Prize winner for his work on memory, Kandel has produced an immense academic work that successfully brings together the world of mind biology and the arts.  Written in a hugely readable style the work eloquently discusses the subject from the window of 1900 Vienna, offering insight into the emotional expressionistic art of Klimt , Kokoschka and Schiele, supported by detailed psycholological and medical research.  Gripping.

Alison Watt

It is interesting how chains are linked and connections made.  Jack Knox, a Scottish painter and teacher died this week.  He trained and taught at the Glasgow School of Art.  He openly ‘borrowed’ from other artists.  His work is not what attracted me.  What did were the names of his former students, Jenny Saville, whose stunning and challenging work I saw at the Ashmolean in Oxford, and Alison Watt, who I hadn’t heard of.

john knox

Detail from Seafood Stall (1980s) by John Knox. Photograph: Gerber Fine Art & Compass Gallery

Watt’s work is sumptuous, sensual and unforgettable, suggesting the life form by its absence.  Watching her at work as the seventh Associate Artist at the National Gallery is illuminating.  She works painfully slowly on her huge canvases, up to 10 x 14 feet, a brush stroke at a time, up and down her ladder.  https://www.nationalgalleries.org/collection/artists-a-z/w/artist/alison-watt/object/sabine-gma-4353

Sabine

Sabine  – https://www.nationalgalleries.org/collection/artists-a-z/w/artist/alison-watt/object/sabine-gma-4353

She talks softly and eloquently about her work and her inspiration, referencing the white knotted cravat in the portrait by Jacques-Louis David of Jacobus Blauw, for Pulse and Echo.

Alison Watt, Echo

Pulse – http://www.inglebygallery.com/artists/alison-watt/

Watt says that ‘painting is a way of being’ and it is her way of ‘creating order our of chaos’.

I have spent the morning reflecting upon the emotional effect  her work has had on me.  Unexpectedly moved to tears, I watched Watt outline the folds then painstakingly build the gradation. a brush stroke at a time, just like I define petals.

The Primitive Artist

Running alongside my research for my essay I have also been exploring the work and seeking to gain an insight into artists who paint in a primitive style.  They are achieving high public recognition with prizes such as the John Moores, so it is important that I understand why.

What is their motivation, why this particular style when I am sure they can all paint ‘properly’?  What is it that I am just not getting?

Roy Oxlade, an artist painting in just such a style, writing in his collection of essays, Art & Instinct, 1, ‘For the adult student to begin to take part in a primitive language forming programme would require what, for him, would amount to a suspension of common sense, in order that fresh insight might be aroused.’

This is the first time I have come close to understanding.  As someone who has spent their entire life being sensible with an over reliance on common sense, it is no wonder that I am struggling to comprehend the work.

Oxlade continues ‘Art is an extended autobiography featuring man himself in relation to his objects and his space.  For many artists this has taken the form of an expressive search for  poetic or metaphysical equivalents for life as it is experienced . ‘

Quoting Matisse in the same essay, he say ‘Exactitude is not the truth, and students must be helped to understand that ‘getting it right’ in relation to image is entirely different to ‘getting it right’ in relation to model.’

Referring to the philostine society he perceives today, he suggests ‘What has been lost is the capacity to respond intuitively to fresh experience together with the imaginative ability constantly to revitalise that experience with new insights. ‘

In his essay Some Thoughts About Rose Wylie’s Painting and Drawings 3 Oxlade offers this insight, ‘Her paintings are representational insofar as they have clearly defined and recognisable depictions of her subjects.  While her intention is to create a certain likeness it is necessary to understand that likeness here precludes realism, portraiture or exactness in the conventional sense.  She draws a lot.  She draws to achieve a certain likeness to the subject;  she paints to achieve a certain likeness to the drawing.  In the context of Wylie’s work, Gaston Bachelard’s ‘naive consciousness’ 4, is best understood as unaffectedness.’

I feel something needs to unhook within me to allow me to fully comprehend.  Angela, in my tutorial, suggested I step back and explore more, that I suspend my way of working with the sole purpose of exploring the subject rather than focusing on producing an end result.  It is amusing that in trying to work differently I am actually sacrificing the spontaneity and intuition that normally guide me.  Back to basics, but this time with more of an insight into the direction that I may be going.

 

What is a Painting?

The idea of a painting being anything other than an image on the wall had never really occurred to me until I looked into the work of Stewart Geddes, one of my  tutors.  He describes his paintings as objects.

http://micros.swindon-college.ac.uk/sofart_news/guest-lecture-artist-stewart-geddes

Coming across the exhibition Painting in Time, currently on in Leeds, added a further dimension to the question What is a Painting?  The artists in this exhibition aim to push the conventional boundary.  Yet more food for thought.

Sarah Kate Wilson has curated the Painting in Time exhibition at the Tetley in Leeds.  She has been shortlisted for the Jerwood Painting Painting Fellowships 2016 and nominated for the inaugural MKCF 2014 New City Prize for the Visual Arts’ in partnership with MK Gallery.

‘The artists participating in Painting in Time are simultaneously pushing the boundaries of painting at this particular moment in time, whilst the medium is in its most expansive state. These artists destabilize the idea of painting as a static object. They bring time into their paintings by sidestepping away from making ‘finished’ paintings. Rather, time is inscribed in the work from the beginning through a variety of strategies, which allow the works to evolve once they exit the studio. Presented within the context of The Tetley’s ethos of curatorial and artistic experimentation, these strategies are manifest in the employment of specialist technology,
ephemeral materials, timed performances and audience articipation.’

http://www.sarahkatewilson.com/News

http://thetetley.org/painting-in-time

Sarah Kate Wilson, Zumba, 2015. Photo: Jules Lister; Courtesy: the artist and The Tetley

Zumba – Sarah Kate Wilson

https://www.a-n.co.uk/news/a-qa-with-sarah-kate-wilson-artist-and-curator

Claire Ashley, Limes and Bricks Suck Pink Your Tasteless Hunk, 2012; Another Tasteless<br />
Hunk, 2013. Photo: Jules Lister; Courtesy: the artist and The Tetley

Clare Ashley – inflatable paintings at The Tetley, Leeds

https://www.a-n.co.uk/news/a-qa-with-sarah-kate-wilson-artist-and-curator

Happy Collaborationists

DATE: “Friday, October 12, 2012 :: 5-7PM” LOCATION: “Roaming” PERFORMANCE: “Simultaneous Narrative” “Simultaneous Narrative” is a one day performance art walk curated by the HAPPY COLLABORATIONISTS, with featured artists, CLAIRE ASHLEY, ERIK PETERSON, JESUS MEJIA & RUTH,SHANE WARD, EJ HILL and ANDREW MEYLERperforming concurrently throughout the Wicker Park / Bucktown neighborhood, emphasizing how multiple artists interact with and alter the same space.

http://outofsitechicago.org/page/3/

Jessica Warboys, Box Painting (3), 2013. Photo: Jules Lister; Courtesy: the artist and The TetleyJessica Warboys, Box Painting (3), 2013. Photo: Jules Lister; Courtesy: the artist and The Tetley

Jessica Warboys

Jessica Warboys (1977) was born in Wales and works between London and Paris. She received a Master of Fine Art from Slade School of Art in 2004 and a BA(Hons) from Falmouth College of Arts in 2001.

Recent solo exhibitions include A painting cycle at Nomas Foundation, Rome (2012), Victory Park Tree Painting at Cell Project Space, London (2011) and Land & Sea at Le Crédac, Ivry-sur-Seine, France (2011). Her work has been included in numerous group exhibitions including dOCUMENTA (13) in Kassel, Germany (2012), Camera Britannica at Centre Pompidou, Paris (2012) and Los Pasos Perditos at Galerie Andreas Huber, Vienna (2012).

http://mleuven.prezly.com/jessica-warboys-opens-first-belgian-solo-at-m-museum-leuven

<i>Sea Painting, Dunwich, 2013</i> installation view. Photograph by Stuart Whipps

Dunwich

http://www.spikeisland.org.uk/events/exhibitions/ab-ovo/

‘In contrast to the structured Ladder Ladder group, the large scale Sea Painting, Dunwich, 2013, part of an ongoing series, was made by throwing mineral pigments directly onto a canvas that was submerged in waves at the seashore and then dragged along the sand. The process is a physical one and is strongly related to performance, a discipline Warboys sees as central to her practice.

Time and landscape, literally embedded in the Sea Paintings, are invoked visually in her films. Ab Ovo (1) (2013) and Ab Ovo (2)(2013) are autonomous films with distinct and intermittent soundtracks, yet operate here as a diptych. Each presents ancient landscapes — standing stones or sandy beaches — as the backdrop for the animation of idiosyncratic yet familiar objects. The use of such emblematic landmasses, or the egg referred to by the Latin title, brings prehistory into dialogue with modernist abstraction.

Weaving has been used as a metaphor for Warboys’ practice: throughout her work, themes and motifs are threaded together, building a structure of visual echoes. This operates very much in the way that words might in a poem, intensifying images to create a rhythmic, temporal experience.’

Hayley Tomkins

English, born 1971.

 

Artists’ Practice

Marlene Dumas South African Born 1953

‘Rejects’ Tate Shot

i think I am still suffering from a belief that famous artists have a direct line to creative success.  Watching Dumas sift through her rejected portraits was an eye opener.  Images with eyes cut out with a second, completely unrelated portrait peeping through.  Images painted on the reverse.  Several attempts to get likenesses for Hockney and others.  How normal is that!  And yet I felt that somehow, it would be effortless.  Wake up to the real world of the professional artist!

Marlene Dumas retrospective, Tate Modern, London, Britain - 03 Feb 2015

‘A wall of botched and bockled faces’: Rejects, 1994-ongoing by Marlene Dumas on show at Tate Modern. Photograph: Nils Jorgensen/REX

Youtube Marlene Dumas in her Studio Dec 17 2010.  Fascinating to watch her labouring on the floor with ink, paper and paper towels.

Youtube podcast ‘An Appetite for Painting ’11 Aug 2014.  She doesn’t like paint very much.  She wants to make marks.  Love for material meant that she did get back to the image.  She refers to the struggle between the figure, material, the physical, gestural.  Liked abstract expressionism, but couldn’t compete with Rauschenberg and De Kooning.

Youtube What the Art Dumas sits on a stool in her studio and suggest the viewer should paint six versions of the same portrait, should challenge them self.

I sense a hesitancy in the interviews (see my previous post on Marlene Dumas) and the videos.  She is one of the most successful living women artists, and yet you feel she almost doesn’t believe it, and yet really does.  It is difficult to tell.  I found her work when looking for successful watercolour artists, a role model.  I enjoy watching her technique, the normality of her struggle and she inspires me to believe I am on the right track with regard to my sensitivity, but I do not really relate to her canvas work.ARTIST DOSSIER: Marlene Dumas's Works Fiercely Prized by Collectors

Marlene Dumas, “The Visitor,” 1995, sold for a record $6.3 million at Sotheby’s London in July 2008.  (Sotheby’s)

Alex Katz

Martin Clarke interviews Katz for Tate Shots.

Born in Brooklyn in 1927.   Had an exhibition at Tate St Ives in 2012, Give Me Tomorrow.  His basis is abstract but he makes the work look realistic. Composition is the moving parts, which he references Watteau and Rembrandt, then creates a contemporary work, moving away from content.  The work of Bonnard and Monet focus on arrangement.

Educated at Cooper Union in modern art and Bauhaus, at time that Jackson Pollock was was becoming recognised.  His focus is on the surface.  His process is to paint an oil sketch of his sitter on Masonite board, taking around an hour and a half.  He then draws a small pencil/charcoal sketch.  The sitter returns to make corrections.  He then blows up the drawing into a ‘cartoon’, sometimes using a projector, and then transfers to a huge  canvas 12×7 feet, via ‘pouncing’, a renaissance technique involving powdered pigment pushed through tiny perforations, to create the composition on the canvas.  He pre-mixes colours, organises his brushes then paints for 6-7 hours.

In the 50s he made cutouts, first from wood then aluminium, usually heads.  He frequently collaborated, was interested in the effemeral fashion world.

He influenced David Salle, Peter Halley, Richard Prince, and younger artists Peter Doig, Julian Opie, Liam Gillick, Elizabeth Peyton, Barb Januszkiewicz, Johan Andersson and Brian Alfred.

(images: Todd Eberle for Architectural Digest)

Known for his figurative work, I am particularly interested in his departure to huge floral images.  They follow his flat painting style, which gives them a decorative feel.  My interest is in the fact that this type of subject is acceptable to the art world, which seems to demand so much more.

Emily Ball MA Born 1968

Emily can be seen painting during a John Skinner masterclass, her style and energy owe much to John’s teaching.

https:Vimeo.com35451899

I have attended a couple of Emily’s classes and have enormous respect for teaching ability, what she has achieved at Seawhites in West Sussex and the energy and authenticity of her work.  I have taken her first book, Drawing and Painting People, a Fresh Approach, as my stepping stone into a world of contemporary painting that is accessible to me.  The following painters are all referenced in her book.

Taken from Emily’s web site the following eloquently describes why I consider her work to be so appropriate to what I am trying to achieve.

‘Swim the Body Electric -The final chapter – March 2014

Emily Ball - Swim the Body Electric

Found on emilyball.net

The intensity of my engagement with the subject of the pool and swimmers continued and came to a conclusion in March 2014.

I really admire Emily for what she has achieved both as a painter and a business woman.  Not only has she broken new ground in subject, form and colour, she has introduce a whole new generation to a new approach to painting.

054I‘m Not Sleeping 1 &

Too Hot taken from Emily’s first book.

 

John Skinner, English,  Born 1953,  Educated at Goldsmiths

John studied with John Epstein.

Enrico’s video of John in action energetically painting and reflecting on one of his large canvases.  Www.youtube.com/watch?y=x5lweYkXlMU

oute de blanc vêtue, la belle juge souhaite bonne chance à l’équipe des nageuses synchronisées  huile sur toile  160cm x 300cm 2010

 John shares his philosophy and passion for painting in his masterclasses at Seawhites in Sussex and elsewhere.  He enables artists to fully engage with their materials and their sensibilities to the subject they are working from.  He encourages positive risks, which is clearly evidenced in the work of his pupil. Emily Ball.
Girl and Phone  Oil on Board  68cm x 68cm  2004-5 Features on the cover of Emily’s book.
I am interested in John’s work because of his use of colour, his contemporary images and his ability to inspire others to greatness.

Rose Wylie MA, English , Born 1934

Wylie won the John Moores Prize in 2014, after several years of trying.  She painted dark lines to represent the windows of Moores gallery and added striking figures.

John Moores Painting Prize 2014 winner Rose Wylie with her work PV Windows and Floorboards – photo by Gavin Trafford

She has lived in Sittingbourn, Kent for the last 40 years where she has her studio in the garden.  She only paints when moved to, starting around 11am, painting what she can see.  She will select an image for the look of the clothes and colour, and not for any political or royal connotation.  There is no table or comfortable chair.  She draws extensively at the dining table.

Artist Rose Wylie in her studio, February 2012

http://www.tate.org.uk/context-comment/blogs/cornelia-parker-why-rose-wylie-true-original

Brian Sewell does not share Parker’s delight in Wylie’s work.   Writing in the Evening Standard in 2013 about the BP sponsored Walk Through British Art exhibition at Tate Britain  ‘One whole room, as big as that devoted to Henry Moore (an exception to the strict chronology), is wasted in throwing a BP Spotlight on Rose Wylie, a mad old bat in second infancy, an ancient Maid of Kent whose scribbles, scrawls and daubs are, according to the BP nonsense pamphlet, “energetic and compelling images … inspired by her voracious appetite for visual culture”. What blethering, what twaddle. Deplorable rubbish, fit not even for the Tate’s outstation in Margate..’  http://www.standard.co.uk/goingout/exhibitions/the-bp-walk-through-british-art-tate-britain–exhibition-review-8618294.html

Artist, Rose Wylie pictured in her studio at her home in Kent.

Last updated at 12:01AM, August 23 2011

She takes her inspiration from literature, forming her paintings into book formation, which allows for new combinations.  She is quite unforgiving with her canvases, collaging, adding, subtracting, objectifying her paintings. She references to painters like Matisse.

My interest in her work stems from Emily Ball’s book, Drawing and Painting People, a Fresh Approach.  I have attended a couple of Emily’s classes and have a high regard for her teaching and the direction she is taking her students.  Emily interviews Rose for her book, and it is Emily’s interest, together with the interest of a number of artists that I respect and her recent success winning the John Moores’ Art Prize, that  has led me to investigate her work more rigorously.  I appreciate her modernity in a world that moves so fast, her quirkiness and trail-blazing for the older woman, giving me hope for what I can achieve in my third age, her complete disregard for the convention of the canvas, her intelligence and her ability to articulate her work, her complete and utter belief in the validity of what she is creating.  What I am still to fully understand is where she is coming from and why that is so relevant today.

Roy Oxlade Ph D RCA English 1924 -2014

Married to Rose Wylie.  Educated at Goldsmiths and Borough, where David Bomberg was his tutor, he wrote his thesis on Bomberg, Bomberg at the Borough: An Approach to Drawing.

Green Painting, 2007  http://en.wikipedia.org/wiki/Roy_Oxlade

‘Painting is like a room of the imagination.  A canvas is a jumble of art history I related to.  Entirely abstract forms place too many restrictions on dialogue, so I have put in some other stuff, characters, actors, tables, pots colours, figures, faces.’  1

http://www.word-power.co.uk/books/roy-oxlade-standards-I9780952850267/

‘When cat-walk art has finally imploded, perhaps there can be a fresh and essentially evaluative look at metaphorical modernism.  That could initiate a continuation of representational painting.’

I don’t understand him and I can find little about him, but I am attracted to his work, which whilst similar to Rose’s, is less naive and more thought provoking.

1. wikipaedia, Wall St Journal International 2013

 

Week 21 – Artist Practice

Artquest

Their Current Projects ‘How to be an Artist’ series gives an insight into differing aspects of the supporting activities of being an artist.  Laura Fowle looks at ‘the balancing act of self promotion’, focusing on her web site and the use of Instagram.  My web site http://www.susanmiller.org.uk, designed by my son, Jon Barmby at www.storehouseagency.com works really well, but it is her suggestion, illustrated by the artist Tanya Ling,  that Instagram is used as a ‘teaser’ to draw in followers that I need to explore.

My son’s friend the Brighton illustrator Lloyd Stratton, uses the resource in a similar way, releasing works in progress to showcase his beautiful pointillist work.  He now has over 3000 followers who regularly purchase his limited runs.

I currently use Instagram for family photos, but with my dual identity I will make this a task for March.  This is proving harder than first thought.  Instagram doesnt seem to allow multiple accounts, that is one copy per device. Um?

Georgia Gendall considers identity and resilience after art college and the importance of a support group once the reassuring blanket of art college is withdrawn.  She is part of the Lifeboat initiative offered by UAL out of which emerged CaW, which ‘explores the proposition that fine art practice per se is a model for resilience (psychologically, socially and culturally). ‘

The Video Trade Secrets 9 stresses the importance of a web presence, but also the idea of collaboration.  I shall let that idea incubate for a while to see if it leads anywhere or nowhere.