I am by inclination a non-conformist, by accident of upbringing a loner. Not anti-social but a little intolerant I admit. I have been pretty well self-employed all my life – or as one friend put it, pretty well unemployable. When welcomed into ‘institutions’ I have changed them, sometime wilfully, but always I hope for the better (see About for more detail). I have expressed myself through my art and through words. Since the digital world came into being I have worked with digital cameras and self-published on the web. I have exhibited widely and written critiques of the work of others. Here you can enjoy my idiosyncratic take on the world, including art and design, where I have made a living for over 50 years and counting. I would be delighted if you use the feedback areas to let me know what you think (be kind to an old man), and even happier if you buy from the Gallery/ shop! You can also find my work on the Singulart Gallery website
Latest Blog Posts
I don’t do cruises. That was the theory anyway. The idea that I would voluntarily confine myself with hundreds of people with no escape filled me with horror. Going on holiday with a whole village? Many years ago, as Editor of HotelDesigns, I organised some reviews of...
My local church is St. Leonards. It is in the centre of the town and for many forms the central focus of small-town life, a focus enhanced by its proximity to the railway station and both our doctor’s surgeries. It has a thriving congregation especially at Christmas...
The show represents their early years, years that appear to be more brilliant for Davie than they were for a Hockney still seeking to come to a balance between the prevailing modes of abstraction and the new burgeoning of realism. Whilst Davie wholeheartedly embraced the working methods of abstract expressionists such as Jackson Pollock, Hockney was already starting a journey to becoming on of the greatest of contemporary realist painters in a tradition that stretches along a road parallel to abstraction.
J.S. Mill said in effect freedom is the ability to challenge the rules, the grid of laws and social convention. As artists we should challenge, change, innovate not conform to other expectations. The grid of galleries, art market and critics are not the arbiters of quality but a reflection of a reality unrelated to art, a reality of exploitation and control, of money. Our grid is different.
My Verdun Triptych has now found a new home in a local public school, and there’s a story behind this dating back to the 1970’s. When I complete my degree course I was upset to be handed the application forms for a posts-graduate teaching course. This seemed like a...
For me as an outsider it is enough to sit and enjoy being a part of a vibrant community. Outsiders refer to Seaford as a deprived seaside town. We may not have many folk driving Bentleys (although there are one or two) and we may not boast large company headquarters, but we are still a thriving community. Surrounded by National Park, adjacent to the Seven Sisters we enjoy our town.
In my ‘declining years’ I have found a place to belong.
It’s a wonderful town, we all know that. My first visit, as a young artist and college lecturer, was on Laker’s Skytrain from Manchester, £99 return for the US independence bicentennial celebrations in 1976. I took hundreds of images of skyscrapers and made my money back with a mini lecture tour of groups in Lancashire showing the slides. Just recently I discovered I wasn’t the first of my family circle to visit the city nor to collect images of it.
To those demonstrators who littered tons of rubbish on London streets as ‘environmental protest’ I say shame on you, don’t expect government’s magic wand to absolve you of responsibility. You littering hypocrites – your penance should be to collect an amount of rubbish from hedgerows and beaches where you live equal to that you dumped on our streets. Look hard at how you use our world. Change will only come from all of us making individual changes. Government has already made significant alteration to our national emission pattern but really, most of it now is down to you and me.
There is so much complexity and sensitivity in Nash’s work. The work builds on a relationship with the land, with Ffestiniog, and is rooted deeply in the past as well as reflecting an individual delight in materials and the workings of the natural environment. Nash is claimed as a minimalist in some writing. For others he belongs in the school of ‘Land Artists’. For me he has the mysticism characteristic of the Welsh, but above all he is an environmentalist, and in that sense very much a part of our future.
Where I wonder do service kids go today? I read that for example in the Royal Navy now most people own houses ‘off base’ giving their children stability but perhaps at the expense of the absence of a parent. Do service brats still suffer the dislocation of their parents postings? Is the struggle to retain trained manpower in the services still being exacerbated by poor service housing – the press reports seem to suggest so. Do the children of service families in the RAF and Army still face the choice of staying with the family or being sent to boarding school?
Scale is an important consideration in relation to the mark. I want to be able to put myself into the work and that means working with the whole body. As pieces get smaller so the ‘hinge’ around which the mark rotates changes. Small pieces use the wrist as the hinge, then it progresses to the elbow and with true scale the mark can be made from the shoulder increasing the vigour of application and pulling in the whole body to engage. I love large paintings like those Waterlilies of Monet which can engulf you as a viewer, so you don’t just spectate but are forced to engage within the piece, be absorbed by it, engulfed by the colour and emotion.
Much art, from the Renaissance onward, contains these hidden messages. When you buy a piece or look at a work in a gallery, look for hidden depths. Paintings are not all just decorative, but read in the light of their contemporaneous history can reveal meanings not immediately obvious – the immediately obvious usually being reserved for cartoons