Intuitive Collages

In this week’s Creative Wellbeing session, I asked participants to look though piles of old magazines, choosing and cutting out images that appealed to them, while trying not to think too much about why. The collection of images and/or words, could then be arranged and stuck down in a way that is pleasing to each individual.

One participant kindly brought in a pile of wallpaper samplers she got free from a home store. Being of light plywood, these were ideal for creating the collages on, and provided a bold background that may or may not have influenced the choice of images.

Samples of participants’ collages

The cutting and gluing and arranging of images was conducive to relaxation and general discussion, whereas going straight into a writing exercise can be inhibiting. Time seemed to pass remarkably fast, or rather, was forgotten about; a good sign of absorption and enjoyment.

Towards the end of the session, participants reflected on how they felt about the images chosen when they were assembled, and how themes had emerged, sometimes quite surprising, and sometimes providing fresh ways of looking at the self. It was suggested that the collages could be added to, and reformatted over time, and agreed that they would make a great stimulus for free writing if there had been time.

 

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Artists Apart

Two exhibitions in Swansea this weekend: Sarah Poland who has a residency in GS Gallery, and Frances Richards at the Glynn Vivian.

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Sarah Poland’s mark making using inks made from oak galls has a zen-like quality. I love how she combines this with photographic images she calls ‘moon-drawings’, made by using a long exposure on full-moon nights in the woods.

Oak Gall Ink – nick-named Ink of poets and Kings – is a very expensive, beautiful, indelible black ink. But for me, the process from start to finish, from gathering the oak galls in an ancient woodland in west Wales, to making the ink, to using it in my work is an important process in the work. At the very least because I can control and play with the viscosity and texture of the material. The work is about exploring drawing through making and using oak gall ink as much as it is about the place and the experience of where they were found. I am working it on paper, canvas and gesso panel.

-Sarah Poland

Moon drawings and oak gall ink.

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Sarah Poland with work made during the residency

Frances Richards: An Artist Apart at the Glynn Vivian Art Gallery – 15 June – 1 September 2019, concentrates on this visionary artist’s  embroidery collages, drawings and monotypes, executed during the war and previously unseen until now, as well as the figurative and flower paintings of her later years.

Richards studied at the Royal College of Art from 1924 to 1927, specialising in tempera and fresco painting. She admired the early Italian renaissance painters Giotto, Piero della Francesca and Fra Angelico; the British artists Samuel Palmer, William Blake and David Jones; and the poetry of the Psalms, the Song of Solomon, George Herbert and Arthur Rimbaud. On display at the GV gallery is the collection of her Les Illuminations – illustrations to prose poems by Arthur Rimbaud lithographs.

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Dawn
1973–5

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Bottom
1973–5

Bottom 1973-5 by Frances Richards 1903-1985

Bottom
1973–5

An Artist Apart highlights the perspective of a hugely gifted female artist and how she responded to the dark mood of wartime Britain.

 

 

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Frances Richards, On Being Alone, 1963, Watercolour on board

 

Chance and Creativity

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Using the notion of chance in art and writing  has been a useful and popular tool in creative wellbeing sessions. Participants like the way feelings can be expressed indirectly, for example by using pre-existing text and cutting it up to form their own poem, or drawing with eyes closed.

This group piece was created from pages of a picture book. All participants were given the same photocopied page and circled words they wished to use, blacking out the rest of the text. On another occasion, a dice was used to choose a word from each sentence on the page.

Using these processes introduces an element of fun as well as chance, allowing artists to bypass inhibitions of the conscious mind. It was interesting to see the way that different people working with the same limited text produced different tones and moods depending on how the words were placed.

The technique was promoted by Tristan Tzara, a Dada artist in 1920s Paris. Here are his instructions:

To Make a Poem

Take a newspaper
Take a pair of scissors
Choose from the paper an article as long as you are planning to make your poem
Cut the article out
Next carefully cut out each of the words that make up the article and put them in a bag
Shake gently
Next take each clipping out one after another in the order in which they left the bag
Copy conscientiously
The poem will look like you
And there you are — an infinitely original author endowed with a charming sensibility though beyond the understanding of the vulgar.

Hans Arp was another founding member of Dadaism. The Dada artists experimented with new approaches to art that could undermine the existing cultural mentality and confused logic that had led the world to the edge of annihilation. “Dada aimed to destroy the reasonable deceptions of man and recover the natural and unreasonable order.” – Arp.

Arp used chance through methods such as circling words at random in a newspaper, or drawing them from a hat. Similarly, William Burrough’s use of cut-up composition, and some of Bowie’s lyrics.

“What I’ve used it for, more than anything else, is igniting anything that might be in my imagination. It can often come up with very interesting attitudes to look into. I tried doing it with diaries and things, and I was finding out amazing things about me and what I’d done and where I was going.” – David Bowie

Bernadette Mayer is a wonderfully innovative contemporary poet using chance techniques. Mayer’s record-keeping and use of stream-of-consciousness narrative are two trademarks of her writing, though she is also known for her work with form and mythology. In addition to the influence of her textual-visual art and journal-keeping, Mayer’s poetry is widely acknowledged as some of the first to speak accurately and honestly about the experience of motherhood. For examples of her writing experiments see here.

city music

 

she heard city music rising                                         a queen knows love

everything cooked                                                         like a fish knows beauty

her instrument was fire walking                                language plain as a noble king

she put on a pair of kisses                                            not one tree shone that year

and went to ask him his price                                      like home, mother

 

in the theatre of toys                                                       winter unkind

the horned man is sleeping                                            warm wing of spring

the dust of forgotten stories in his eyes                        she soars through the cutting edge

continuities     improbable as life

Altered Cities

On dérives around cities such as Cardiff, London and Prague, I digitally capture fleeting and ‘found’ moments and monuments, later inverting the light values to convey mysterious, phantasmagoric effects. Through my interest in alternative photographic techniques, such as cyanotype and photogram, I have also begun to experiment with altering the printed images through the use of natural dyes such as tannin and tumeric to render contemporary scenes vintage. Altering the images is a way of reclaiming urban space, creating new worlds from familiar sights. Selected images will be made into large-scale screen prints.

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Emma Kunz – Visionary Drawings

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The Serpentine gallery in Hyde park is currently showing 40 rarely seen drawings of visionary artist, healer and researcher Emma Kunz (1892–1963).

This is an important exhibition because it showcases the work of one of the pioneers of abstract art, providing insight into extraordinary, and largely unacknowledged creative innovations that were occurring in the middle of the nineteenth century.

In 1906, Hilma Af Klint from Sweden verifiably created her first abstract painting – at least four years before the ‘founding fathers’ of modern painting  (such as Wassily Kandinsky.)  Georgiana Houghton in England, and Emma Kunz in Switzerland were also developing their own abstract visual language, highly charged with meaning. All three women strove to make manifest immaterial messages from higher, spiritual realms. As Althaus et al state in their introduction to the new publication: World Receivers:  “the analysis of their spectacular work, challenges us to question previously binding narratives about the genesis of abstract art in the modern era.”

 

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Emma Kunz in Waldstadt

Emma Kunz used radiesthesia as a drawing technique, where she would pose a question to her divining pendulum and discover the answer within the geometric drawing she made from recording the pendulum’s swings, starts and stops onto graph paper. She was known to work continuously on each drawing for periods that could stretch over twenty-four hours.Kunz sought to gain a greater understanding of nature and the world through these drawings, and her questions to the pendulum ranged from the political to the philosophical and personal.

Emma Kunz is the only one of the three artists mentioned above who did not receive any artist training. It was not until the age of forty-six that she began to produce large scale drawings on almost square-cut graph paper. She drew to explore the laws and forces of nature’s regularities. The starting point was her own body, as well as her concentrated attention to nature. She approached her healing practice in the same way. By completely surrendering herself to the energy flows, she directed the damaging forces onto herself, and transformed these into healing energies. There are astonishing reports of her healing successes. (World Receivers).

She used the pendulum as a stimulant. She often recounted that ordered systems of points had appeared before her inner eye. In tireless work, she expanded on a basic pattern, enriching it, consulting the pendulum and inner visions. At times it seemed as if the picture was completing itself outside of her own consciousness, as if her hands were being guided. When a work was finished, the painter stood in front of it filled with wonder and described what had been found – returning from distant depths, curiously astonished. That interaction between consciousness, conscious behaviour, and almost unconscious listening to the primal roots of existence (Muttergrunden), which is only found among genuine artists. (Henry Widmer: in Du Die Zeitschrift der Kultur)

 

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Animating the Aliens

On the after-school Storytelling and Art course at Llanover Hall, the children decided to create a theatre out of cardboard. As our theme for that week was Sci-fi, everyone made alien characters to star in the show. On the first week, the parents got a preview of act one, with one boy being narrator, others changing the set and moving the characters.

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Over the weeks, Future Class Theatre continued to develop. Scenery and back drops were painted. A script with four scenes was written. Characters were made out of air-drying clay and painted. And finally, a mini animation of the story to be edited.

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sculpting aliens out of clay

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painting the theatre

 

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Into the Forest Portal

Completion of another Creative Schools project in a primary school at St. Gabriel and St Raphael R.C. Primary School, Tonypandy. Working with fellow artist Angharad Evans, the aim was to reconnect the children with the natural environment, while enhancing literacy skills, and to create a sensory portal in a small allocated space in the school yard that would be used for story telling.

Four stories were chosen, acted out and used as inspiration for artwork: The Rainbow Snake from Australia, The Kingdom Under the Sea from Japan, The Lady of the Lake, and Picton and the Magic Staff, based on stories from Wales. The children also created a story from their experiences on trips we arranged to Barry Sidings and the Bushcraft centre in Merthyr.

Angharad showed the children how to weave the willow into a den, and I helped them to print flags and banners to represent aspects of the four stories and the four elements: earth, air, fire and water.

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The Magic Portal, with prints based on the stories

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Storytelling in the Portal