Saturday, May 29, 2010
The camera-work is often beautiful, and the film mantains its tension thoughout, despite being rather slow, and contains some memorable images.
This is an lumbering description of ageing and N.Y. politics which lacks the lightness of touch to really succeed, despite Kim Basinger's charming appearances.
Nonetheless, it's fairly entertaining.
Thursday, May 27, 2010
I was thinking about Nick Drake's song "Fruit Tree", while painting.
I shall not go to the heath for a while: I feel that I've exhausted it. The seasons don't contrast sufficiently to make frequent visits to the same location creatively fruitful, unlike in the United Kingdom.
Tuesday, May 25, 2010
Today's picture is straight from yesterday's list (no. 4).
I was totally undisturbed while working except by some midges who seem to hang about in a great clusters near these trees. They are very attracted to black clothes for some reason.
I don't think I have been so happy in the last few years as when painting outside. Meetings with others are so often marred by tensions. My increased inability to handle commonplace social tensions and my consequent preference for solitude is the sign of a failure on my part.
Today's picture looks set to be quite popular and I might do another, looking in the opposite direction.
Almost all the pictures on this site are for sale; the prices for these little pictures (labelled "postcards", or "pochades") are about 55US$; postage and packing is an additional 10$.
I can take cheques or direct transfers from UK or Brazillian buyers, or SWIFT payments from other places.
Sunday, May 23, 2010
1. Barra de Lagoa, the bridge or the boats
2. Still life of boxes, cds and other bright objects
3. Estreito: more views of buildings there
4. Path in the woods (park, Corrego grande)
5. Some of the buildings in the centre of Florianopolis, especially the old bus station
6. Favela construction in Saco dos Limoes
7. The Hercilio Luz Bridge and the road bridge
8. The cds and books here piled up
9. A coat or a coloured shirt hanging up
10. The heath near Lagoa
11. A self portrait
12. The bed
13. The tyre shop, Itacorubi
14. Florianopolis seen from the continent
15 . Nocturne of the entrance to an apartment block
16. Nocturne depicting a white wall and a streetlamp near here.
I'd like it if the next bunch of paintings were brighter and used more primary or secondary colours, instead of the greys which dominated my palette over the last month.
But of course when one arrives at a place it's very often the case that the idea one had is less interesting than something that catches ones eye: I'll always discard the original idea. if that's the case.
I don't much like being watched when I'm working, so if a location turns out to be busy then I'll often go to a side street or more isolated place. This means that I tend to paint places like Estreito or the centre at the weekend when everything is shut.
And if it rain threatens, then I'll chose a covered area to work from.
I think this week at some point I'll make a still life arrangement of bright boxes and bottles.
This one feels a bit like a Utrillo, an artist whose work must have gone totally out of fashion as there don't appear to be any monographs on him currently in print.
Saturday, May 22, 2010
It features all the cliches of "serious" cinema and is ponderous and dull beyond words.
Thursday, May 20, 2010
Wednesday, May 19, 2010
I'd hoped to be using bright colours today but the weather turned out hazy.
I'm using a technique in which paint is removed after application by blotting the card with paper: suggestion being a more forceful tool than statement; something I learnt from the symbolists, and a mentality that seems to be a staple of etching.
Tuesday, May 18, 2010
This picture has a sweetness that I'm wary of. It just came out that way. There is also something about the composition which I find too easily picturesque; hackneyed.
Monday, May 17, 2010
Today's picture is a very Bonnard-ish.
They are supposedly constructing or planting a botanical gardens there, where my view depicts though, apart from a large sign, I have seen nothing to indicate any work taking place there over the last year. These things take forever here. This can be most despiriting.
Now I think of it, the theme of the garden is really central to Bonnard- the oasis or haven, and this theme finds its domestic analogy in his pictures of bathrooms and bathing.
I previously commented ironically on daily painting, as if there were something excssively worthy or laboured about the idea, but I find that I have myself begun to paint daily. Some people might think this takes discipline, but the opposite is true: in daily painting, painting becomes a sort of anchor, and the day feels incomplete or strange if I haven't worked on any pictures. Painting comes to assume some of the ritualistic qualities of church on Sunday- it solves the problem of what to do, thus making one impregnable.
I think now if I were living in the UK, I'd consider attending church on Sundays just for the amusement of it though it would have to be a church where the sermons were extremely brief, as I find them irritating. Actually, I find most aspects of religion, apart from the songs and the architecture, annoy me so I am not sure whether I'd really manage to sustain the habit of churchgoing (even in the Anglican church which is famously- magnificently- open to all-comers; even those who are quite openly just there for the aesthetics).
Sunday, May 16, 2010
I drove across to the continent and worked in Estreito, a district with it's own atmosphere redolent of San Francisco because of the grid plan, and the way the roads undulate, sloping down towards the sea, but with the sense of decay, disorder and chaos that seems so characteristic of Brazil.
It isn't necessarily unpleasant: as I drove I listened to Miles Davis' E.S.P.: modal jazz seems analagous to the grid plan: a simple clear rythmic and harmonic plan underpinning individual solo expolations, and Davis' 1965 lp had a mood very appropriate to the hazy cool day: laid back, percussive.
The shops and street furniture are jammed together chaotically- using colour to compete for attention.
Saturday, May 15, 2010
I've also found that the public takes a great deal more interest if, in some way, the personality of the artist is somehow accessable though the postings- with autobiographical snippets, or images of the artists' home and self.
This, however is not something I wish to to- I simply don't want such an intimate relationship with the public, as such relationships that I have seen seem strange and imbalanced to me, and it strikes me too that they are founded on a false notion of art as primarily an autobiographical tool.
Friday, May 14, 2010
A heavy day; my mood awful throughout.
Beautiful heathland in Lagoa, under threat of suburbanisation but still a pleasant place to escape- the smell of the damp grass very pleasant and larks and butterflies everywhere.
A couple of days ago I passed the morning reading through an exhibition catalogue of Edward Lear's watercolours, painted on his travels: I have the idea of doing much the same on my USA trip, which is still in it's embyro stages (any help/ advice gratefully accepted: I'm especially interested in linking up with other painters in the USA, and the possibility of showing work and ideally selling some to help pay for the trip).
Wednesday, May 12, 2010
Very wet here. The computer has broken and our useless internet/phone provider seems incapable of offering even the most scant level of service- we have been without a telephone for most of the last three days. Thus I am sitting in an internet cafe trying to concentrate.
All this has served to show how dependent I am on the internet for both work and pleasure- television here is unwatchably moronic.
I am very happy with recent paintings, however.
Thursday, May 6, 2010
Sunday, May 2, 2010
I've never painted nocturnes though I've often wanted to. I don't know why painting at night from the car never occurred to me before.