06 September 2014

Art in Folkestone

The Wind Lift - wonderful - it works on air power
"The Luckiest Place on Earth" - exchange your penny for a lucky one
One of the Pent houses over the tidal river Pent (by Diane Dever & Jonathan Wright)

A short climb to see the view
What is it? How does it make you feel? Emma Hart's installation

Gabriel Lester's Cross-track Observation Deck has a good view of the harbour as well as abandoned rail lines

The old train station, with neon installation by Tim Etchells

Andy Goldsworthy covered up a shop window with clay ...

... also the stairs next door ... it's all drying out

One of the Whithervanes ("a neurotic early worrying system")

Pablo Bronstein's riff on Hawksmoor, among the beach huts
Nor were these all - see others at the Folkestone Triennial site, or better yet go there and walk around and find them. The "bell on the beach" is still there, and Tracey Emin's little teddy at the railway station, and more than a dozen artworks that have been purchased from previous triennials.
Each one of Mark Wallinger's "Folk Stones" represents a soldier killed on the first day of the Battle of the Somme
Time being short at the moment, I'll leave it to you to click on the links to find out more about the works, rather than trying to say something cogent, insightful, wise, or amusing about them.

Also showing, "I'd still like to the she Governor..." at the Brewery Tap - Steph Goodger and Julian Row's prisons, prison ships, slave ships -

Finally, an idea for my own  in-your-dreams, purely-for-the-hell-of-it project, should anyone want to commission it for the next triennial or for anywhere really -
... to delineate the layers of pavement-patching with coloured outlines -
 or better yet, with gold leaf

Flotilla

prototypes
These origami boats are to help fill some empty shelves at an exhibition that opens in a few hours. The exhibition is called "From the High Sierras to the Sea" (aha, you see the connection) and shows photos of the High Sierra by Tony Wallis, photos taken on the Brixham trawler Leader by Quentin Ball, and photos of beaches in various locations by Elisabeth Blanchet. It's at Artisan, 80 Harlesden Road, NW10 2BE, 6-27 September, open Weds-Sat.

Back to the boats
Instructions for the boats can be found at (left to right)
pink sailboats - www.origami-fun.com/origami-sail-boats.html
pink and yellow motorobats -www.origami-instructions.com/easy-origami-boat.html
brown sailboat - make the yellow sailboat, leaving out the tuck that makes one sail smaller
yellow sailboat - www.origami-make.com/origami-boat-traditional-sail.php
red sailboat - www.origami-make.com/origami-boat-traditional-easy.php
quintessential origami boat - www.origami-instructions.com/origami-boat.html and many, many other places

05 September 2014

Folkestone favourites

We went for the triennial, which opened this week, and spent all the (miraculously) sunny day looking for and at the art installations - more of that later - meanwhile, some bits of un-curated art ...
Shadows, patterning, patriotic colours

The solitude of the lonely fisherman

Get the message?

Sitting pretty!
Many shops closed, but the Old High Street is looking pretty

Bail Steps - it's an up-and-down town

Plasterwork on grand Victorian houses - to paint or not to paint?

04 September 2014

Poetry Thursday - Holy Sonnet 10 by John Donne

Reading Donne (via)
Death be not proud, though some have called thee
Mighty and dreadful, for thou art not so,
For those whom thou thinkst thou dost overthrow
Die not, poor Death, nor yet canst thou kill me.
From rest and sleep, which but thy pictures be,
Much pleasure; then from thee, much more must flow,
And soonest our best men with thee do go,
Rest of their bones and soul's delivery.
Thou art slave to fate, chance, kings, and desperate men,
And dost with poison, war, and sickness dwell.
And poppies or charms can make us sleep as well,
And better than thy stroke; why swellst thou then?
  One short sleep past, we wake eternally
  And death shall be no more; Death, thou shalt die.


There are 19 "holy sonnets", also known as the Divine Meditations or Divine Sonnets. They were published two years after Donne's death, but circulated in manuscript during his lifetime. Donne suffered a combination of physical, emotional, and financial hardships during 1609-10, when the poems are believed to have been written and when Donne was converting from Roman Catholicism to Anglicanism. In these works he addresses religious themes of mortality, divine judgment, divine love, and humble penance while reflecting deeply personal anxieties.


John Donne (1572-1631) is considered the pre-eminent representative of the metaphysical poets.  An important theme in his poetry is the idea of true religion, something that he spent much time considering. He wrote secular poems as well as erotic and love poems. 

Despite his great education (Oxford, Cambridge, and Lincoln's Inn) and poetic talents, Donne lived in poverty for several years, relying heavily on wealthy friends (says Wikipedia). He spent much of the money he inherited during and after his education on womanising, literature, pastimes, and travel. In 1601, Donne secretly married Anne More, with whom he had twelve children [a marriage that ruined the diplomatic career he seemed to be heading for]. In 1615, he became an Anglican priest, although he did not want to take Anglican orders. He did so because King James I persistently ordered it. In 1621, he was appointed the Dean of St Paul's Cathedral in London.

This is one of the ten sonnets I made efforts to memorise as part of a project during the Camberwell book arts course. It was the sonnet I found most difficult to understand, and having revisited - and re-memorised - it, I still find a few sticking-points. Some lines seem very long ... but turn out to have only 10 syllables. Some words don't sit with their neighbours in an easy way, not to a modern ear at least - "from rest and sleep, which but thy pictures be, much pleasure"  - as Wikipedia says, "Donne's style is characterised by abrupt openings and various paradoxes, ironies and dislocations."

During the book project, I didn't investigate the history of the poem, or the life of the author, but I did stitch it out, syllable by syllable, rather like these others (they were then subjected to rubbing with graphite) -
 This, and the spacing that represented punctuation, was supposed to help with the memorisation - but I'm not sure it did! The flow of the words is what's important - and I think that saying it aloud, or writing it out, also helps.

03 September 2014

American abstraction - disappearing at Saatchi Gallery

Half of the Abstract America Today show has been displaced by Xavier Mascaro's bronze boats and other sculptures, and the rest is due to come down soon (9 Sept). I was astonished at the media - knitting! machine embroidery! fabric collage (ok, canvas)! weaving! There may have been some paint... 

It's sometimes difficult to define abstraction - can written (ok, knitted) phrases be "abstract"? 
Lisa Anne Auerbach, Find Your Inner Metal Voice, 2011
(it's described as "Merino wool stitched onto stretched linen")
I found the framed weavings by Brent Wadden impressive - they're made from reclaimed yarn, needing ingenuity when supplies run out ... just like a lot of handicraft traditions ...
Cullen Washington Jr uses the grid as a compostional device, and uses "canvas, paper, tape, found materials" for his constructions -
Ivan Morley uses "a vintage embroidery machine" - this work barely fits between floor and ceiling (and a peek round the back shows a blank canvas instead of lots of loose ends) -
Big seems to be desirable when abstraction is involved. Also big was Xavier Mascaro's work Departures, of which this is the tail end -

Shamed into action

October 2010
Not a pretty sight - the studio before its rearrangement. (Have you been documenting your workspace, to see how it changes over the years?)

Nearly four years later, though the layout has changed, the same fundamental problem remains. Although I'm ok once there's a project on the go, I don't look forward to entering the studio. I can ignore the chaotic bits when there's something compelling to focus on, or when the table under the window is clear and invites sitting at it -- but otherwise, it's just too gloomy, both in terms of light level and in terms of Stuff Everywhere.
September 2014
I'm lucky to have amassed "everything I'll ever need", but when the need does arise, I can't find the tool or material. That really does make me wonder if it would be a good idea to get rid of it ALL, and replace the few things I actually do use.

The things I use seem to be getting fewer and fewer, as I find materials and processes that satisfy me, that I enjoy working with and that suit my practice. (Oo, doesn't that sound "artistic", talking about one's Practice - but it's a useful word and includes a lot: what you do, and how, when, where, and why you do it.)

Still, it's good to have the pens and the fabrics and the papers and the threads and the postcards-to-be-painted-over and the boxed-up materials for forgotten projects and the dozen+ bargain fabrics for backs of double-bed sized quilts and the little bag of powdered graphite and the drawerful of gouache watercolour paints and the drawerful of masking tape of various widths and the bag of scrap papers and various sets of coloured pencils and ......... you get the idea. Too much stuff. (Plus, fabrics stored in cupboards upstairs - amid unfinished projects of course!)

"The journey of a thousand miles starts with a single step." After lunch, I put the Archers omnibus on the iplayer - and then another few programmes - and by 6pm much had been relocated and binned, and the worktop was clear, though the table under the window seems rather crowded -
Before
Doubting my painting prowess, painter/decorator son gave the surface an undercoat in a few minutes before dinner -
During
In the morning I did the cutting in [technical term for brush-painting the bits the roller doesn't reach] -
After, though not quite ready yet
It still needs two coats of eggshell - with sanding between times - so it will take all week to finish this properly, during which time I'm motivated to sort through (and toss out) more of the "bits" that are everywhere. The shelves are marvellous for keeping often-used tools to hand, but seem to be crowded with never-used files of old projects ...  having written that, it's obvious that they should be for current or frequent work only. It would be good to have some containers that fit those shelves, which are quite narrow - 21cm (x 69.5cm wide x 32cm high).

Containers! - no sooner said than done - from the pound shop just across the road -
There's a lot of rearrangement and rethinking to be done before those boxes are filled and in place. Rethinking of, eg, where the sketchbooks should go - are they consulted enough [ever?] to be considered "current"? Decisions about, eg, how and where to store the "wobbly book" ... where are the other, similar books, is this "erasure" project (of Morning Pages written more than a decade ago) still alive, or should these books now be burnt?  Making space elsewhere for the dictionaries etc I've been accumulating for eventual repurposing in some arty way [will that ever happen? is that really part of my practice?] ... or maybe just returning them to the charity shop from whence they came - that option is very tempting - close one door and another opens...

Meanwhile I'm stepping into the studio every time I pass the door and marvelling at the lovely white expanse. For the moment, it's a dream come true.

02 September 2014

Art on the River

A new scheme rather like Art on the Underground is launched with watercolours by Clare Woods, views from the river itself -


The posters are at Thames Clipper piers, and on the Woolwich ferry vessels, during September. Let's hope the scheme carries on...

A sample of Clare Woods' earlier work -
Cemetery Bends, 2009; oil and enamel on aluminium (via)
There's an interview with her here. And just to give you an idea of the scale of her work ....

Rediscovering libraries (in London)

"Recent reports of my death have been greatly exaggerated" - was it Mark Twain said that? [Yes ... after hearing that his obituary had been published.]

Reports of library closures continue ... is the library dead? Libraries have morphed from being a collection of books (liber ... libros, livres ...) with an issue desk and reference librarian, to "information services" for the community, including loaning videos, CDs, etc and of course access to online services. Moving with the times, in other words.

Having physical libraries to visit is A Very Good Thing, imho - user numbers are important to keeping them open. Here are some public libraries in London - some are lending libraries, others for reference only.

Westminster Art Reference Library - a place to read the art magazines - is located between the National Gallery and Leicester Square (on the site of Isaac Newton's house no less), and open till 8 most evenings. 
Reading Room at the National Art Library (via)
National Art Library at the V&A also has art journals, and a collection of artists books, and much more. You need to leave your bags and impedimenta in the cloakroom, and to get a reader's ticket, but it's free to use and has an old-fashioned atmosphere. Closed Sunday and Monday.

Barbican Library - somewhat out of the way for me, but I do have a card - and it's possible to borrow audiobooks online. There's usually a small exhibition by local artists there.
Saison Poetry Library at the Royal Festival Hall (more images here)
Poetry Library - hidden away on the South Bank - closed Mondays; search the catalogue online. Some of the collection can be borrowed, and they have many, many poetry magazines.

British Library - you need to apply for a Reader Pass if you want to use the collection (catalogues are online). The building has a bookshop, cafe, wifi, exhibitions, and a permanent display of some Very Important Books - many of which can be viewed online. With Explore the British Library you can search, view and order items from the main catalogue of nearly 57 million records, or search the contents of the Library's website.
Wellcome Building - the library is part of the Wellcome Collection
Wellcome Library - more than just medicine, more than just books - online research resources, a blog, exhibitions, and free talks too. The gallery on the 3rd floor is designated a "non-silent area" where people can chat. The Wellcome Images catalogue is of a collection of over 170 000 historical and contemporary images, covering medical and social history, contemporary healthcare and biomedical science, which can be downloaded for personal, non-commercial use. The library is open to anyone with an interest in the history of health and medicine.

City Business Library has all sorts of business information (as you might expect) - and helpful staff (ditto) - as well as events and workshops related to business growth, from VAT to pricing strategies to stress management...
The Issue Hall at the London Library (via its blog)
The famous London Library - "the UK's leading literary institution" - was founded in 1841 and has an annual membership fee of about £40 a month, which is understandable as it's self-funding. It has over a million books, and there's a booky blog.

Also a subscription library, but in a niche at the other end of the spectrum, is the Marx Memorial Library - subs are £20 a year. The lending section has 46,000 volumes covering a range of subjects including Marx, Engels, Lenin, the Spanish Civil War and the History of Socialism and the British Labour Movement. The reference collection has an extensive holding of journals dating from the 1850's. The Printers Collection is made up of the records, memorabilia and historic artefacts of the printing trade unions of the UK and Ireland.
Marx Memorial Library and Workers School

01 September 2014

Wattles

Pamela Griffith, First of August, Wattle Day, 1980 (via)
Wattle Day has been celebrated in parts of Australia since 1910; since 1992, National Wattle Day falls on September 1st. (Thanks to Erika for sending along the image, which is held in the National Gallery of Australia.)

Wattles, in this context (there are many kinds of wattles!) refer to the acacia tree. The Golden Wattle (Acacia pycnantha) is the floral emblem of Australia. There are nearly 1000 species of wattle, and it has great resilience. It welcomes in the spring and is one of the first plants to regenerate after fire.

Wattles have featured on several Australian stamps -
1959-60, designed by botanical artist Margaret Stones
1970
1982
1990

Monday miscellany

An unexpected combination
If only these were on sale in the museum shop, instead of going for recycling!
From the Science Museum's "Rubbish" show

Sunny place for a herb garden - but needs a ladder
(it could work on my bike shed roof)
Wang Shu's Ningbo Historical Museum (via)

Looking forward to the Anselm Kiefer show at RA, opening at the end of September ... meanwhile here's a video of him in conversation with Tim Marlow - royalacademy.org.uk/article/117


Useful concept - "taking a mulligan" (as found here) -
The Wikipedia entry for Mulligan is as follows: "In golf, a mulligan is a stroke that is replayed from the spot of the previous stroke without penalty, due to an errant shot made on the previous stroke. The result is, as the hole is played and scored, as if the first errant shot had never been made. This practice is disallowed entirely by strict rules and players who attempt it or agree to let it happen may be disqualified from sanctioned competitions. However, in casual play, mulligans speed play by reducing the time spent searching for a lost ball, and reduce frustration and increase enjoyment of the game, as a player can "shake off" a bad shot more easily with their second chance."

From Knud Leem's pioneering ethnology of the Sami, 1767 (via)
Special box preserves tiny book (57x34mm) - and makes it easier to find (via)