Art on the Hill

My friend transformed his flat into a gallery space for local artists as part of Art on the Hill in Newport.

11:00 – 18:00 : Art House #1, 26 Bryngwyn Road (19) *PG*
The first in a series of mixed media events that focus upon the more outer edges of Newport’s developing art scene. Featuring work by: Poddington Moore, Stephen Hammet, TEMMAH, Patrick Sullivan, Johnathan Sherwood, Barrie J. Morgan, Myrig Watkins, Ffion Trefor, Melanie Wall, Steven George Jones, Andrew Narowsky, Ariel Serotonin Jones, Sarah Featherstone, Eamon Sweeney, Philip Morgan, Jay Steward and John McCarthy.
https://www.facebook.com/events/317332562420476/

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New Work

Once again using set parameters of reclaimed tile 50x50cm, and circular form, I am continuing to experiment with elements of relief using plaster and glue to create texture (inspired by Ernst’s experiments). The composition, apart from these self-defined limits, is automatic.

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“The joy in every successful metamorphosis conforms . . . with the intellect’s age-old energetic need to liberate itself from the deceptive and boring paradise of fixed memories and to investigate a new, incomparably expansive areas of experience, in which the boundaries between the so-called inner world and the outer world become increasingly blurred and will probably one day disappear entirely.”

“What is Surrealism?” (1934), Max Ernst

New Work

I have been revisiting Max Ernst’s work, specifically his frottage, grattage and coulage techniques that prioritised automatism. Using his grattage (scraping) technique, Ernst covered his canvases completely with pattern and then interpreted the images that emerged, thus allowing texture to suggest composition in a spontaneous fashion. In The Forest the artist probably placed the canvas over a rough surface (perhaps wood), scraped oil paint over the canvas, and then rubbed, scraped, and overpainted the area of the trees.

The subject of a dense forest appears often in Ernst’s work of the late twenties and early thirties. These canvases, of which The Quiet Forest, 1927, is another example, generally contain a wall of trees, a solar disk, and an apparition of a bird hovering amid the foliage.

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Birth of a Galaxy, 1969. Max Ernst

 

 

Max Ernst, Silence Through the Ages, 1968

Silence through the Ages 1968

 

 

 

 

 

 

Max Ernst

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Moon in a Bottle

 

 

Max Ernst (German, 1891-1976) Demain (Painted in 1962)

       Max Ernst (German, 1891-1976) Violette Sonne

 

 

 

 

 

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Working on the back of a tile, building up texture, using scraffitio technique to scrape layers of paint about. I never know what the composition is going to be. It goes through many transformations and sometimes will not reach a resting point and I must begin again after hours of work.

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Landscape with Sun

 

Exhibition: Pioneering Abstract Artists

The exhibition Surface Work (11 April – 16 June 2018 at the Victoria Miro, Mayfair) was a rich feast, with abstract work by more than 50 artists, all women, from five continents, spanning every decade between 1918 and 2018.

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I knew of some of the artists who have “shaped and transformed, and continue to influence and expand, the language and definition of abstract painting”: Helen Frankenthaler, Yayoi Kusama, Lee Krasner, Agnes Martin, Mira Schendel, Gillian Ayres to name a few, but the majority were new to me, and it was revelatory to ‘discover’ so many artists who had been there for years, producing fantastic work in obscurity.

The exhibition gave me the opportunity to see work I had only seen small reproductions of in books such as one of Yayoi Kusama’s Infinity Nets.  Kusama began painting the Nets in the early sixties shortly after she moved to New York, living in poverty until she began to sell work through a dealer. I love the intensity and repetition of the repeating loops that seem to expand and contract like a murmuration. There is a tension between a random and systematic aesthetic. Apparently, Kusama would paint the Nets for uninterrupted sessions of 40 to 50 hours as a way to channel and contain her mania. She has repeatedly revisited and expanded this body of work throughout her career.

 

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Infinity Net (HNBKY) made in 2012

 

 Yayoi Kusama

 Kusama with early ‘Infinity Net’ paintings in her New York studio, 1961

 

Also immersed in the tradition of the sublime is Loie Hollowell’s work. Link Lingam (yellow, green, blue, purple, pink) 2018, has an intriguing undulating surface that folds into the design giving it a sculptural element.

Loie Hollowell

 

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Jessica Warboys’ large canvases are ‘painted’ by the sea shifting and scattering mineral pigments into them. The coast and landscape are a source of inspiration and influence for Warboys, who draws upon pagan history and folklore in her films and performances. She had a solo exhibition at Tate St Ives recently that included Hill of Dreams, a film that draws from Welsh fantasy writer Arthur Machen’s book of the same name.

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See here for the online catalogue with overview of every artist.

 

 

Whatever the Weather

The sessions that I am running at the lovely new mental health unit Hafan Y Coed have evolved into a combination of writing and art. As this is a new venture for me, it has been interesting to see how the planning of the course translates into practice.

We have taken a generic theme for each session, and this week was ‘weather’. As mindfulness is really useful in cultivating creativity, I’ve tried to incorporate it into the sessions. Learners initially used pictorial prompts as a focus, imagining themselves into  various natural scenes, engaging all the senses through a short guided visualization. From this, they did some free-writing – jotting down anything that came to mind without worrying about punctuation or spelling or whether it seemed relevant – anything at all. This free-writing often leads to some unexpected story seeds and associations that can be developed later into a poem or short prose piece.

We read poems by some well known poets relating to the weather, and discussed how we felt about each piece. Then I presented a few examples of expressive art such as Frank Auerbach’s  series of drawings he made after walking on Primrose Hill, and Georgia O’Keeffe’s watercolour, ‘Sunrise’.

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Working Drawings for ‘Primrose Hill’ 1968. Coloured chalks and black pencil on cartridge paper.

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Sunrise, 1916 – Georgia O’Keeffe

 

As we had access to the resources in the art therapy room, there was a good variety of mediums for learners to choose from to create their own weather-inspired art works. Within the work, they could incorporate their favourite words or phrases from those they had written earlier.

Two wonderful landscapes with text, using acrylic paint and coloured pencils.