Lockdown Seven (another lazy post)

Update on the #draweverydayinmay2020

I kept going until I had 31 days worth, and I’ve drawn on the two days since, the link takes you to the completed gallery.

So this is a quick picture post as I went protesting on Sunday when I would normally have written a post.

Tuesday I started a painting and worked on the first garden in the VR world that has a working title of ‘et in arcadia ego’


starting tthe painting

Glover Street Yard

On Wednesday I ran and then worked in the garden. I spent the afternoon getting frustrated with the VR – it’s always about adjusting the scale to make the world realistic. (as an aside I bought a copy of MakeVR to try to build quicker but discovered that my kit isn’t upto it, it works so slowly it defeats the object of using it.)

Thursday I carried on painting and modelling.

Under painting

I carried on painting on Friday

Friday painting

On Saturday I worked on the model, changing textures (sourced from old family photographs)

Glover Street Model

The I finished the painting and entered it into a competition locally – online so maybe not just local – I had to submit a photoof me in the studio alongside it.

The artist in his studio [old codger]

The finished(!) painting looks like this…

withered rose

Studio Strike (Two weeks to leave)

Upstairs Studio Cleared

Upstairs Studio Cleared

The upstairs of the shop is now cleaner and emptier than when I moved in.

I’ll be leaving my studio next Wednesday, no prospect of a new one yet, everywhere is shutting up shop, and I’m hopeful my van driver will honour the contract. We live in interesting times.

Shop ready to empty

Shop ready to empty

So all of this is now here…

Stacked Garage

Stacked Garage

Apart from the bits that are here…

Attic Studio

Attic Studio

Ready to work in isolation!

For the sake of future reference ACE effectively canceled all the National Lottery Project Funding currently pending in order to create a support system for freelancers who are seriously compromised by the current closure of everywhere. So all my plans are on hold along with everyone else’s. What I’ve decided to work on now is a Web GL version of the VR world and see what I can do to finesse it.

Leaving the Studio

I moved into my studio at 13 Scot Lane on February 6th last year, and last week I got notice to quit by April 4th. It has been a long lease for an Axisweb tenancy and very valuable to me. I got the ACE funding and completed the geranium project (R&D), so I have no complaints. I do have quite a headache though. I’ve three weks effectively to pack up and move just when I’m getting some interest in seeing the project from people who might think of showing it.

The shop the day I moved my gear in

Moving in Day 6th February 2019

I spent the week sorting out software licenses, meeting people to discuss possible exhibitions and planning for a project for the NHS in Barnsley. I really need to do some drawing!

I’ve got the Future Now conference at York St. John’s next week, Thursday and Friday, with a meetings with an ACE officer and a portfolio review. It was this time last year when I attended this conference and showed my work to Jane Bhoyroo from Yorkshire Sculpture International whose response convinced me of its viability and Denise Fahmy from ACE who gave me really valuable advice about making an application. Looking forward to hearing Cornelia Parker speak at this one.

Some links that are interesting and may potentially come up again in the next few months.




Place Markers, not Milestones

Guy Debord, The Naked City, 1957

For today, after experiencing some drift myself, I’m putting this here as a placemarker. If you’ve followed the blog you’ll have an idea of what I mean by that as the work I’ve been doing is psychogeographical.

I’m struggling to articulate the work and its underlying theories without establishing a road map and this situationist approach seems to be the most appropriate for now. I’ll post my thoughts when I know what they are.

The image is from McDonough, T 2004, Guy Debord and the Situationist International: Texts and Documents, MIT Press, Cambridge. which is sitting on my desk as I write.

Drawing Towards Sculpture [TWO]

How a drawing progresses through thought and action is what I thought I wanted to discuss but as I began to write I found that what concerned me was how the thing made is understood, what expectations I had of an audience and how and whether my intentions could or should be communicated by that thing. In continuing to think about the act of drawing as a symptom, or as a consequence or corollary of sculpture in part one of this post, I brushed against the idea of making a drawing being the subject of the drawing. This is too simple an explanation of process. The two drawings below for instance were made before the collage drawings in the first post but survived the cut, as it were, as they help explain the spaces I’m interested in. There are changes of viewpoint across the picture plane, working to no particular plan, disrupting the perspective to reflect the way that memory disrupts experience. Isolating objects in instances that refer to other things.

The creative act is perhaps best described as an act of translation. The ‘change or conversion to another form, appearance, etc.; transformation:’i Translation is notoriously difficult because of changes to understanding between one state and another. Linguistically this is demonstrated by obvious loss of sense or meaning with literal change, just try google translate to explore it. In artistic terms the same things apply, the nature of a mark implying three dimensional space is different to that of a mark occupying a space and that may imply a different meaning. I have often seen maquettes that fail to translate an appropriate sense of scale for instance. In Greek Poetry Translations M. Byron Raizis discusses these difficulties in translation and steps the translator needs to take to overcome them. In particular he cites anaplasis, transposition,padding, omission, inversion, correction and adjustment, and says ‘by anaplasis we mean a remoulding, a recasting of the words, expressions imagery etc., of the original into new and different but more naturally corresponding lexical features in the target tongue’ (Byron Raizis, 1981)ii This seems to me apposite in describing the act of drawing.

The drawing below (I say drawing advisedly, I have never really thought of myself as a painter and I can’t see a difference in the activities other than their existence as an end in themselves.) illustrates this recasting for me. The scene is the garden of a house on Coronation Crescent in Preston, Lancashire in 1991. The garden is viewed from the front door in the centre of the end wall of a two up two down end terrace property. It had been emptied of plants the previous winter and planted up in the spring. It’s now the end of summer and the garden feels like the whole of the world at this point. The intention is not facsimile, photographic or even technical, it’s not an illustration. The garden is deliberately sparse and the shadow heightened. The desire is to present visual analogies to memories that are always questionable. iii

Today I read an article about an art class in Sydney in which Professor of Fine Art Paul Thomas invited 14 participants from UNSW’s ARC Centre of Excellence for Quantum Computation and Communication Technology (CQC2T) to examine Bell’s theorem (1964) via their still life drawing of a simple wooden chair.

‘Irene Fernandez, who is doing a PhD in Quantum Computing at the School of Electrical Engineering, said the workshop inspired two ideas.
“The idea that when you make a trace, you statistically determine the reality of the object that you are trying to measure,” she said.
“I could see the chair as the reality that [Albert] Einstein believed in, and my hand as the tool of quantum mechanics.”
“[Secondly] the idea that the material memory makes this interesting effect where you no longer control your drawing, but it is the drawing that starts driving your decisions.” ‘iv

The second point neatly sums up what I have been trying to get at.


i. https://www.dictionary.com/browse/translation

ii. Byron Raizis, M (1981). Greek Poetry Translations. Greece: Efstathiadis Group. In the introduction – The Nature of Literary Translation. I am indebted to Mary Jacobus’ book Reading Cy Twombly about the artists use of poetry in his paintings and in particular the Introduction that discusses translation as part of the creative process. Jacobus, M (2016). Reading Cy Twombly. New Jersey: Princeton University Press.

iii. There is a good article about this idea on The Conversation blog, “Research shows that we don’t actually access and use all available memories when creating personal narratives. It is becoming increasingly clear that, at any given moment, we unawarely tend to choose and pick what to remember.” Mazzoni, G. 2018. The ‘real you’ is a myth – we constantly create false memories to achieve the identity we want. 19th September. The Conversation. [Online]. [27 September 2018]. Available from: https://theconversation.com/the-real-you-is-a-myth-we-constantly-create-false-memories-to-achieve-the-identity-we-want-103253

iv. Nazaroff, D. 2018. UNSW Newsroom. [Online]. [24 September 2018]. Available from: https://newsroom.unsw.edu.au/news/science-tech/quantum-physicists-take-art-class-rethink-their-view-reality