It must be psychological but mainly physical…sleeping/resting for a whole day as soon as we completed our latest garden project.
A few days now to fully prepare my pictures, crates etc. for shipping to the Salzburg exhibition. Then we drive nearly 1400 miles there for the private view and back to my studio in France.
I so need to paint…working my bolloc*s off designing and building gardens to pay the bills just gets in the way…
Acting muscle at it’s best…went to see The Cherry Orchard, Chekhov, at the Old Vic on Friday and then, The Winter’s Tale, Shakespeare, on Saturday to mark what would have been Emily’s mothers 80th Birthday. We went to BAM in Brooklyn to see her, Cherry Morris Murray, in the Sam Mendes productions a few years ago.
But I missed out on big hugs for Emily from Selina Cadell and Rebecca Hall…
Just watched The Summer Exhibition on the telly…I’ve always perceived it as ‘other artists’, other people involved in wanting to be noticed, to be seen, to sell, to be appreciated…with a slight kind of wondering on my part of what’s it all about? Perhaps a kind of circus with an inner circus ring…I haven’t worked it out yet…not really my cup of tea…too sweet…
3 people 8 long days to clear my father-in-laws home. A kleptomaniac who didn't throw anything away for 50 years and collected mainly furniture, books and dust. Many nice things too. He's now in a lovely care home nearby.
If 8yd skips appear in my latest series of pictures that's proof I'm influenced by my surroundings…
'Graham's response to landscape is contemplative. Creation becomes a challenge as every mark is considered as the aesthetic process unravels towards sublime resolution. Graham's preoccupations are undoubtedly formal, but his technique relies on more than simply a conscious arrangement of shape and colour. Graham aims to intuitively distil the essence of his visual experience in a much more unlimited way. Landscape provides the ideal motif; unrestricted by figures or buildings, an exploration is permitted which ultimately pervades pure creation.' Sally-Ann Schilling. MA History of Art, The Courtauld Institute of Art, Art Historian and former Lecturer Tate Modern, London
