Friday, January 22, 2016

Blocks, Coney Island- framed

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Blocks, Coney Island - framed






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Thursday, January 21, 2016

Kensington Gardens framed

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Kensington Gardens, Winter, 14 x 13 cm Framed       SOLD






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Tuesday, January 19, 2016

La Paz, shops- framed

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La Paz, shops- framed       SOLD




The painting has been framed to include the carrier. 

The effect is interesting and elegant, I think.




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Thursday, January 14, 2016

A little brush

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A little brush, oil on card, 10.3 x 11 cm




Everyday objects can give tremendous reassurance, especially those which, like treen, seem to be crafted for the express pleasure of being held. Such items gain a patina form their users, and with this act as biographies.

Transferal of such objects from one owner to another is, consequently, something to be undertaken with care, as the object will carry with it both positive and negative forces. This is why wearing second-hand clothing, especially shoes and hats, can be dangerous as this can lead to profound personality changes.


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Wednesday, January 13, 2016

A bowl of stuff

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A bowl of stuff, oil on card, 13 x 12.5 cm   NOT FOR SALE



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Tuesday, January 12, 2016

The bowl and the spoon

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The bowl and the spoon, oil on car, 12 x 12 cm




The motifs chosen for such pictures must be readily recognizable or the picture is merely abstract, and the fun, even the humour, in interpretation* would be lost. Thus, one tends to depict things with obvious profiles: bowls, cutlery, simple houses.

All this would be obvious surely to any self-respecting Japanese.or Chinese painter. Or indeed, and cubist. But this factor means that eventually such pictures become boring, both to make and to see, and knowing this, one can understand why the cubist experiment petered out,



*Has there every been a humourous abstract painting? Is such a thing even possible? Mimetics, distortions and transformations being the stuff of humour, I somewhat doubt it.


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Monday, January 11, 2016

The neighbours' house

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The neighbours' house, oil on card, 11.5 x 14 cm



Painted looking down from my window.


There is a great deal to be said for consciously limiting one's aesthetic resources. This forces oneself to exploit those one has to their maximum.

Gombrich, ever a source of wisdom, writes about the perils of excessive wealth on art when describing the art of Rococo France, contrasting it disfavourably with that of the more austere Dutch 16th century.




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Saturday, January 9, 2016

On the way to Rússia

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 A Hamlet on the way to Rússia, oil on card, 15 x 18 cm









Brazilians rarely miss an opportunity to make a noise. 

You could be in the most tranquil place.surrounded by peaceful fields, fine mountains extending before you, and some Brazilians will come with a horrible music player and some of their detestable Serteneja music and subject you to it. Or, in this case very loud cross-country motorcycles which they, for no obviously good reason, see the need to drive up and down this pretty road,


I am not sure why they are so unappreciative of silence, but in general they like a certain intensity of aesthetic experience: or rather, they don't cultivate the opposite. Thus, cities are constructed with one building on top of the other, with no parks or recreational breathing spots,while meals shy away from simplicity- there is a maximizing of ingredients and options.The hot dog here has become  a fantastical melange of sausage, peas, corn, onions and whatever else you might imagine. Horror vacui, perhaps?
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Friday, January 8, 2016

Courtyard, Trindade; kitsch

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Courtyard, Trindade, oil on card, 14 x 17 cm




A picture in a "Japanese" vernacular, via French Intimism. 

The courtyards visible from my flat have enormous potential as subjects: art as the revealing of secrets, the hidden made known. Art of this sort is the opposite of propaganda and kitsch, which deals in falsehoods. 

  Next time I will try to capture the lady responsible for the washing, though she only ever appears fleetingly to hang or remove her laundry.




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Wednesday, January 6, 2016

Royal Academy Summer Exhibition 2016: submissions.

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 Returning from the Synagogue, Walworth Street, Brooklyn, oil on card, 18 x 15 cm





Moçambique, paths, December 2016, oil on card, 19 x 22 cm  SOLD



These are my two entries for the digital selection process of the Royal Academy's summer show.  Let's see how they get on. It's the third such show I've entered, and my work was accepted on the previous occasions. They cost 25 pounds a pop just to enter so... fingers crossed.

Having submitted, it seems my pair do not quite complement each other perfectly: but then, what would have been the sense of submitting two similar works?

One can never get these things right, the selection processes for these open submission shows being governed by mysterious, hidden forces...


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Sunday, January 3, 2016

A farmhouse, Rússia

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A farmhouse, Rússia, oil on card, 16 x 18 cm




Rússia, as seen on the sign I followed off the road to Antonio Carlos: a very agreeable little place, It`s close to BR 101, but feels a million miles away.

I shall return to Rússia shortly.



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Friday, January 1, 2016

Annual Review: 2015: Flickr, Blogger, Facebook, Twitter

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Above Rio Vermelho, oil on card, 12 x 15 cm




I traveled well and happily, visiting Paris, London and Scotland on one trip, and New York on the another. I very much enjoyed my time in Glasgow, a beguiling place.

New York was also a success, I was blessed with near perfect weather and I painted steadily and pleasurably. Glasgow and New York seem to me to share an up-front directness, that translates well into painting. I intend to re-visit each. It is something to do with the nineteenth century and a certain boldness. I like the people in both cities. They are straightforward and take one as they find one. In both, the architecture is often grand, even self-important. 




Parade of shops seen from Flushing and Thompkins, Bedford-Stuyvesant, Brooklyn
 oil oncard, 16 x 18 cm    SOLD



Otherwise, I continued to explore Santa Catarina, specifically the parts close to the island, largely trying to capture much larger expanses than I had previously, usually from a height. I increased the size of the pochades to do this. 






Antonio Carlos, landscape, oil on card, 16 x 18 cm



I used the following sites to show work:




Flickr


Now I have 880 Followers, up from last year's 838, a modest increase.




Blogger

The number of followers went down from  83 to 82. I had expected an increase, But It could be that people follow without becoming a  registered follower.




Facebook

This remains a good place to make contact and show work: add me there if you wish.



Twitter


There are now 314 followers on Twitter from 42 in 2012.  This is because I made a specific effort to "follow" other members and hey rewarded me in return. But it is difficult to believe that this means anything much, as I have little sense of an increased engagement with my work from these followers.




Saachi

I sold nothing through this site this year. 




Plans, thoughts.


Travel, having become tiring appeals to me less and less. But, of course one has to do something. Spending all year on the island would be extremely dull. There is little season variation and, as each year passes, less and less novelty. I have an idea about going to Peru, but feel daunted by the prospect. The guidebooks enjoy emphasizing the risk of crime. Valparaiso again might be better, Chile being that bit more advanced and given that I already know the city, at least a little. 

I want to spend more time in the mountains here in the year to come than I did in the last.

 Painting remains a good, perhaps even  the best, instrument for exploring one's visual and subjective experience of the world, and a justification for travel. The logistics of this are the matter. Lugging the painting things around is a bore, but it does give one a certain Boys Own Paper sense of ones own heroism at the same time. .."vanity has played a part is every heroes downfall". 







 Paris, oil on card, 16 x 18.5 cm




Thanks

Many thanks to those who put me up and helped me in London - Lise, Felix, John, Alison and Fred; kinFrédéric in Paris and my parents for helping with exhibitions and J. Heald for his company in New York.




Forest, Canasvieiras, oil on card, 18 x 22 cm



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