Wednesday, December 28, 2016
Awaiting a delivery of some more of the ‘widescreen’ canvases that have proved themselves to be the most appropriate for the current sequence of painterly investigations of yonder woodland (a mere pair having been purchased in the first instance, for the purposes of testing the proposal, and alternatives being unfit for such purpose), it seemed a good idea to fill some of the hiatus by remodelling another batch of pears and then whitewashing them in readiness for the intended further investigation and possible expansion of that particular body of work as was carried out earlier in the year. Here, captured looking in to the conservatory/studio from outside, are the five objects suspended and drip-drying.
Tuesday, December 20, 2016
oil on canvas/24″ x 48″/December 2016
The current painting brought to some form of resolution (one could keep adding paint indefinitely), as with the previous example concentrating in painterly terms on the horizontals and verticals of the subject matter and achieving an all-over-ness of surface texture. Again, this ‘tactile space’ acts as a means to suggest the physical experience of being present in the landscape, the richness of the empirical fact(s).
Tuesday, December 06, 2016
Presenting today the early stages of the current work-in-progress, another 4′ x 2′ ‘widescreen’ canvas upon which has been sketched the early stages of a second woodscape composition closely related to its predecessor and of which there is as yet not a great deal else to say.
The work was carried out over the course of Saturday afternoon, this activity to the accompaniment of a selection of the new release from the Moon Wiring Club, celebrating in generously expansive style the 10th anniversary of & comprising, musically, an LP (entitled ‘Exit Pantomime Control’) and triple CD set (‘When a New Trick Comes Out, I Do an Old One’), some of the artwork of which is pictured below (there’s also an A2-sized double-sided poster folded within the CD package, detailing its contents and featuring more of the inimitable illustrations of the sort on show), and a book too (also ‘When a New Trick…’) – a veritable cornucopia of sound and visuals as, indeed, each of the issues from the Blank Workshop and fictional town of Clinkskell are, what have come to be a much-anticipated annual treat after the clocks have gone back and the seasonal gloaming descends and envelops.
As ever, the music is both familiar and strange (more so than usual this time, with remixes and re-imaginings from the substantial archives), accents recur but are subjected to tweaks and new treatments, ghosts rematerialising in fresh guises, moods benign, contemplative and unsettling shift within the continuum – it’s rich fare upon initial encounter that frequent revisiting will reward as we move inexorably from this year into next.
Now – given the seasonal crimp on available painting opportunity (fundamentally, an insistence upon natural light conditions) – when’s the next chance to paint and listen?