Friday, October 14, 2016

Doodling on

It's interesting that as soon as I put a design-in-progress up on the blog I see problems and am set itching to work at it further.  I thought I'd show what wee progress I made on my classical viola player.

Thursday, October 13, 2016

Slow recovery

The head cold was firmly established on the last day of September, and it has taken until these days - mid October for me to start feeling that it has almost gone.  Finally.  I reckon that next week I can get back to work properly.
Meantime I find it impossible not be doing something, and the design in progress above has been and is still soothing my turmoil.
I am reading Peter Frankopan's  The Silk Roads, and somehow thoughts of Roman, Persian, and Indian painting became mixed up in my dreams, and this image emerged.

Saturday, October 08, 2016

The bonus was Flesh

Donald Rodney: In the House of My Father (image from here)
Although I had prepared to see the ceramics at York Art Gallery, I had neglected to investigate what else was on show.  I was delighted therefore to note on entering the building a poster promoting a temporary exhibition including work by Degas, Chardin, Bacon, Rubens, ... entitled Flesh.
This is such a thought-provoking exhibition it would have warranted a journey even without the inspirational ceramics.  The theme is a universal one, but the individual components are not generally seen together: religious painting, still life, abstract, photography, documentary, painting, film, sculpture, ....
Although photography was permitted without flash, the snap above of the Ron Mueck Youth was the only one I took because I would not have done justice to anything.  This review has an excellent selection of good photographs, and there are more here, here, and here.
Behind the sculpture above can be seen a group of photographs about self harm.  (I have not been able to track down who made this work.)  It was so interesting to have such aspects of flesh included in the exhibition.  Similarly I found Jonathan Yeo's (widely known as a portrait painter) painting of a patient undergoing a facelift compelling -  just as I have found Jenny Saville's work.
The exhibition contains the beautiful and the repulsive - in all categories: just as I find Rubens repulsive, I find beauty in the elegant limbs of Berlinde De Bruyckere's Romeu 'my deer'.  I found it challenging to be faced with so much flesh, and to have to think about how we generally think about each aspect of flesh in such separate - often mutually excluding categories.
Just as the exhibition in Margate brought the idea of roundness into every corner of my mind, this collection of aspects of flesh has also filled my thoughts - not least bringing Hamlet to mind:

O, that this too too solid flesh would melt
Thaw and resolve itself into a dew!
Or that the Everlasting had not fix'd
His canon 'gainst self-slaughter! O God! God!
How weary, stale, flat and unprofitable,
Seem to me all the uses of this world!
Fie on't! ah fie! 'tis an unweeded garden,
That grows to seed; things rank and gross in nature
Possess it merely. 

SAQA Benefit Auction

I was delighted that Chat over coffee sold in Section 2 of the auction while we were away on holiday.  I still live in hope that some day I might be fortunate enough to participate in a SAQA exhibition.  In the meantime I certainly enjoy reading about other members, and seeing their work online.

There are still some squares available here and here.

Thursday, October 06, 2016

A work of art speaks for itself -?

Ceremonial cover, artist, maker unknown (image from here)
In my previous post I have not identified the individual pieces which I snapped in the Anthony Shaw Collection installation.  While amongst them I had no need to know who had created them.  They spoke for themselves, sometimes in loud singular voices, sometimes in dialogue or general conversation with their companions.  They were alive with their own personalities, their own information; their own communications linking with elements in my observing and moving amongst them.
The other morning I read a powerful article by Deborah Orr in the Guardian newspaper about the 'unmasking' of the writer Elena Ferrante.  I so agree with what Orr says therein, in general too about folks, women, not being allowed to be private.  Why is it that if your work is much admired, bought and enjoyed by many, made famous, ... that you too must be made famous, poked, prodded, examined if that is not what you want? 
I admit that I am curious about the making of work - including motivation, experience, inspiration contributing to the making - my curiosity stretches to wanting to know how what I have received from the work compares with the maker's intentions.   But answers to my questions are not necessary for a good piece of work to speak for itself.  Although the skills which made it are of legitimate interest for comment and examination (Deborah Orr herself has done so herself here and here, for example in relation to the work of Elena Ferrante), is it essential that we know everything about everybody who makes art?
I sometimes think that pieces of art are 'ticked off' as the work of the famous X or Y without being looked at closely for themselves.  It is often advantageous to know about the maker of a piece one admires - maybe even more advantageous to know about the maker of a piece one does not admire (?) - but that perhaps one should leave off too much knowledge about the maker before making a personal acquaintance with the work itself, if it is the work which demanded attention.

I would be interested to know what you think.

Monday, October 03, 2016

My high point of the trip

It was a dangerous strategy to look forward to something too much, but my anticipation was more than amply fulfilled.  I was eager to visit CoCA in York: the Centre of Ceramic Art at York Art Gallery, and especially the Anthony Shaw collection installation.  In preparation for the visit I had watched this video, and was already excited.
But I was still blown away by reality.
My first encounter with the ceramics in the collection was with the Wall of Pots, which in itself would have been worth visiting.  I really enjoyed the presentation by colour, mixed styles and ages, and was entranced by the visual excitement created by the dramatic lighting too and the reflections created.
Photography is allowed with no flash, so it is possible to take better pix than my snaps.  The Wall of Pots is in the same room as the Anthony Shaw installation, but there is also another large gallery full of displays and information.
The crème de la crème, however, as I said was the room setting with bench, chairs, table, bookshelves, rugs, cushions, and a stunning exciting collection of ceramics.  In the late '90s I curated an exhibition which presented all the art and crafts as in a house and garden: furniture maker, weavers, silversmith, kitchen carpenter, textile artists, painters, glassmakers, potters, printmakers, ....  I have always thought that people would enjoy seeing fine work in context.  Here again I found once again that pleasure, and wanted to move right in!
I also very much enjoyed the juxtaposition of the line of stitch on the cushions with the line of wood on the bench.

Saturday, October 01, 2016

A Yorkshire interlude, ending with a Horrid Headcold

Yesterday we returned from a week away in the North York Moors national park.  We were most fortunate in the weather and had an interesting time exploring moors and dales, and a couple of places I had been looking forward to seeing.
Unfortunately, on Thursday I came down with a vile cold, and am typing this through a painful fug, while feeling thoroughly miserable and sorry for myself as I cough and splutter.  You would very definitely not enjoy being here with me! 
Apart from the landscape, there were two visits in particular to which I was looking forward.  The first of those was to Riveaulx AbbeyThe abbey ruins lie in a delightful setting, and were not over run by visitors.  There was also the additional bonus this year of the newly opened museum.
There are many bits of building to explore,
and lots of fascinating details to examine.
And at the end of it all I enjoyed just sitting on a bench listening to the songs of a couple of meadow pipits.

Wednesday, September 21, 2016

Juggling around

Patched pastime
After the exhibition in Margate I have been thinking more about things round in general, but also relating to my own work.  The most obvious link is with the juggler - which is a figure who comes round again and again.
At the Turner Contemporary there were examples from the ancient classical world as well as those modern and contemporary, and thinking of this sent me furtling into my postcard boxes.  I was looking for postcard pages from a calendar I had been given by an elderly German family friend.  She was from Berlin, was passionate about Ancient Greek art, and as a Friend of the State Museum in Berlin in the early 60s received an annual calendar.  She gave me one of these which features terracotta figurines.
I was delighted with these, as museums in Greece itself were not in the excellent condition they are nowadays, and I had seen hardly any figurines.  My love affair began with these postcards (just two of which shown above).  The girl on the right is playing the tambourine and came from the Black Sea area (as did my maternal family).  The child juggler on the left is described as probably coming from Thebes.
Whether influenced by these, the juggler has come to mean a kind of frivolity, a stepping away from serious concerns, how society is perhaps more interested in meaningless trifles.  Maybe it's just me not being able to accept that I no longer have the meaningful role I occupied previously.  Whatever it is, the desire to employ the image of juggler comes round again.
I was so pleased with Patched pastime that I am repeating the exercise with similar strips of knitted silk yarn, but in a different orientation and another colour.  I'm delighted to be using printmaking (the juggler herself is a carborundum print on tissue paper, scanned then digitally printed onto cotton), knitted strips I designed and made during my short-lived days as a knitwear designer, and hand stitching as well as machine stitching.
I was further delighted to find that this piece not only fell firmly into the SAQA Europe/Middle East theme for an upcoming exhibition, but for the one and only time so far in several years of membership I fit the size requirements for submission.
But as I worked on quilting the patchwork I got to thinking.  The idea of the exhibition is to tour to at least four venues which means much handling even with the greatest care.  This is not a conventional quilt, and I'm concerned that the knitted element might just tempt fate.  So once again I shall not be submitting my work for selection.  Hey ho.
Meanwhile, however, I am preparing a second piece of hand work to take with me on an imminent trip - just in case I finish the piece I'm stitching at present. I've printed a small, slightly different version of the juggler to take with me.  Appropriate colours for the onset of Autumn.

And then, rather than getting on with processing tomatoes I was distracted by an urge to doodle.