Following on from the recent photorealist ‘portrait’ of Samuel Beckett, the latest painting on and now, resolved, off the easel has been along similar lines, employing similar means, albeit on a reduced scale (having exhausted the existing stock of larger canvases: had one been available, it would have been utilised). This latter aspect proved itself to be less satisfying than the preceding endeavour – more cramped, less painterly, offering less scope for the brush strokes to just ‘be’, to be representative of the process of the ‘work’ of art, with, rather, virtually every mark having to be more descriptive in nature.
The portrait subject is Nick Cave, with the pose offering the bonus of describing the hands in addition to the head/face, the immediate object of reference being an A3 monochrome print of a colour photograph.
‘Nick Cave After a Photograph’
oil on canvas/20″ x 16″/October – November 2017
Ever since hearing The Birthday Party on the John Peel show, and catching the band live in 1981 (bottom of a bill supporting headliners Bauhaus with Vic Godard and Subway Sect between, at the Liverpool Royal Court), Nick Cave has loomed large on the personal cultural landscape, being a firm musical favourite as his career and repertoire has evolved, and it’s been a profoundly rewarding pleasure to listen, chronologically, to a good deal of Nick and the Bad Seeds’ back catalogue as an accompaniment to the painting process (providing the perfect excuse to indulge), if a bit strange to be looking so intently at an image of the artist as he performs.
