A Portrait of an Artist as a Very Late Starter

https://www.youtube.com/watch?v=AGqAggmwyMU&hd=1

The above link takes you to the Tate short film about the restoration of the Rothko painting, one of the paintings from the Seagram Murals series, which was damaged with graphiti ink over a year ago.

I have books on Abstract Expressionism in my personal library and a couple on Rothko. It is a long time since I have been able to look at them because they have been in strorage for most of the time since I moved up to N Yorks nearly nine years ago. They have only just recently been unpacked and placed reverently on a shelf. I have not looked at any Rothko paintings, whether in reproduction in my books, or at Tate for a very long time.

It was, therefor quite an experience to watch this video and to be reminded of the beauty, presence and majesty of the works. I was also quite taken aback; I realised during the film, that quite innocently and unintentionally, my recent drawings and paintings have reflected and connected with the obelisk shapes that Rothko used. Now, I am not so stupid as to suppose that all art can possibly be completely original, and these connections between artists works happens a lot. What took me by surprise is the fact that I had been unaware of my connection/reflection of the Rothko motif. In my whirring mind as I continued to watch the film, I realised that this was probably subliminal, that because of such a long lay off caused by ill health when I moved here, I was not engaging much in art or art history but that my subconcsious was probably playing a part in the making of my recent works.

I should add here that the recent works of which I speak are not pastiches of Rothko; they are quite different; it is the connection to them that I have been reminded of that has taken me aback. The connection in some way pleases me even as it worries me in the sense that now that I am aware of it, I need to beware of allowing my work to veer too near towards Rothko’s motif or characteristics. I am not flattering myself here; just writing my thoughts down honestly as I discuss and try to make sense of what I have just experienced during the watching of the above video mere minutes ago. (My good friend Matt Lyon, who is a very successful graphic artist just messaged me to say that we cannot escape creative channelling)!

Rothko’s great works communicate so profoundly because of the humanity they reflect back at us, I think. His works deal with the great and timeless subject of our own mortality, the human condition. When I first began my recent series of work, which I am still developing, at the very end of 2012, I was thinking about my own mortality having had to confront it during my illness, as well as the then recent deaths of four of my best friends. So the passage of time, the human condition and ideas of memory and loss began to emerge as the theme of my work; the obelisks within my initial drawings represented the people I had so recently lost. It is not so surprising that I should find that I have a connection with other artists given that this is probably the greatest theme in all the arts there is!

What has surprised me so much is that I had been unaware of the connection and this is a timely reminder that I need to be making use of my library of books again and reflecting and noting down my thoughts in visual form as I do so. Also that a visit to Tate to see the Seagram Murals, to sit and contmplate things in front of these great paintings is way overdue.

It’s life ‘n’ that innit?

Gaaaah! Four weeks of illness. FOUR WEEKS! But thankfully, I am on the mend now and my energies are directed to the upcoming North Yorkshire Open Studios. My first attempt, so I am a bit anxious about putting on a good show as it were. My plans for having new prints and artists books are scuppered; I only got to the planning stage before I was cut down with the dreaded virus, so I’ll be showing some work old and new, framed and unframed alongside sketchbooks for visitors to browse through. Normally, I’d have a real go at getting some of this work done, but I am really having to pace myself while I recover properly.

This is very frustrating; I think I was probably more exhausted by overseeing the on-going eco house renovations, my duties for RAW and trying to keep my practice going than I realised so I am trying to take a breath and look after myself better.

I wonder if my Chinese sketchbook will be back from the Rabley Sketch 13 tour in time to have it on display? It would be nice to have it back in the studio.

We did manage to get down to Margate last bank holiday weekend. Sorry Claire Smith, I did not get in touch with you because to be honest, I was still ill and only staggered round the exhibition before having to retreat back to our hotel inland for a lie down. Next time. . . We were surprised that the journey only took us four and a half hours from up here in North Yorkshire, so it’s definitely something I’d do again.

I’m so glad I did make it to Margate, to the marvellous Turner Contemporary, to see the Frankenthaler/Turner show. It was a thoughtfully curated exhibition; the first time I’d seen so many Frankenthaler paintings together. Watching the video of Frankenthaler’s working life, I couldn’t help being jealous of her huge studio spaces – I dream of such opportunity!

I came away, having spent a good three hours going round and round the show, sitting in front of the paintings, peering up close to some of the Turners and most of the Frankenthalers, (with a break in between for a very good coffee and scone), feeling quite elated and much more informed about Frankenthaler as an artist and the work itself. I smiled at her home made painting tools such as a sponge on a stick, and the fact that she worked on the floor; all things I do when I get the opportunity to make big paintings.

Margate appeared very run down, which made me sad; I remember visiting as a small child on a day trip on the train from South London with my grandmother and family but not much about the town itself. I’m sure the Turner Contemporary is having an effect on the local economy; one woman I chatted to in the gallery had driven down from Peterborough especially to see the show and we would not have been the only ones travelling considerable distances. This can only bode well for the future development of Margate as a cultural centre.

I loved the Old Town, but could see that it needed a bit of vision to make it as vibrant as, say, The Lanes in Brighton. Anyway, thank you and good luck Margate, I will visit again when I have more energy!

So back to my studio this week, to organise, take stock, make notes and plan for the Open Studios. Not forgetting the publicity side of things! I might get some of those small boards I prepared about five weeks ago painted, you never know. What I do know is; I must not try and take on too many responsibilites at once, cos it is too much of a drain on my physical as well as mental health and then I won’t be good for anything and four weeks of that was enough, thanks very much.