Thursday, September 21, 2017

A photo from Bucharest, becoming an artist

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Bucharest, 2002





Here I am over twenty years ago twenty in Bucharest in 1992. I had graduated from Edinburgh University two years before and was teaching English in Bayswater, London.

I'd taken the decision not to continue making art but to focus on teaching to make a living and get on the career ladder That decision showed a failure of self-awareness on my part, albeit an understandable one: I can teach, and that offered a much more secure financial future, but it isn't a first instinct in the way making art is.


In addition, I thought that the pleasure I got from travel was merely a phase, and that I could happily develop a life in London as permanent fixed resident, with all the usual accouterments and relationships.

In both these decisions I was mistaken. And I compounded the effect of these misjudgments because instead of accepting my nature- that of a nomadic and creative individual- I waged a campaign against my instincts and tried to force myself into a condition I did not suit, throwing moralist arguments about the "better good of society" or, "duty" or "career" at myself. I had had some ideas that "happiness came not from pursuit of suit of self interest but in the fulfillment " of duty (which is not a direct quote from Saint-Exupery, but could well be).

In short, had thought that my enjoyment of making art could be relegated to the status of a hobby and I tried to suppress my desire to do so.

Eventually I came to my senses.



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Wednesday, September 20, 2017

View into a bedroom; Facebook page

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View into a bedroom, oil on card, 12 x 14 cm




I have now a Facebook page specifically related to my artwork.

 I shall continue to put work on my personal page which contains pretty much the entire catalogue of pochades. However, it is recommended that artists create specific pages relating to work and here it is-

https://www.facebook.com/paintingpochades/


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Tuesday, September 19, 2017

Table, bottle, The Old Patagonia Express

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Table, bottle, The Old Patagonia Express, plate, oil on card, 13 x 14 cm







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Monday, September 18, 2017

A bowl on a tray and a plate with apples; painting in monochrome

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A bowl on a tray and a plate with apples, oil on card, 11 x 13 cm






I had the idea that on one of the trips I should esshew colour entirely and just work with black and white,  or dark sepia, this sustaining a deeper understanding of this fascinating area.

I like the way subtleties of brush movement, or of texture or tone become highlighted and how using black and white tips one into abstraction. Perhaps London, already monochrome in Portland Stone and steel sky would be the ideal place to experiment?

Colour is heady and tends to obliterate appreciation of anything but itself. It's like a drug, and like a drug you need to take more and more for the same effect. That does you no harm, though appreciation of anything grows with its absence.

A puritanical, or perhaps merely ascetic, side to my nature, Scottish or Danish in origin, lends me to suspect any too easily won aesthetic pleasure.



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Sunday, September 17, 2017

A bowl, a spoon, tomatoes, papers

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A bowl, a spoon, tomatoes, papers, oil on card, 12.5 x 14.2 cm





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Saturday, September 16, 2017

Friday, September 15, 2017

A poem about Britain in thirty pictures

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Thirty pochade carriers for the U.K.





I think of the trip as a poem, the paintings bearing more similarity in their subjective qualities to this than to any topographical survey. A poem about Britain in thirty pictures. Or fewer, as I may ditch some later. The schematic quality of the project is satisfying, but such schematic notions can stultify. It's better to just get on with the work and see if anything good happens. 

 As the trip approaches I regret not giving more time to it, but the UK is an expensive place to travel in, and simply does not represent good value, both food and accommodation being very costly. It is wiser to put the money aside for use in Ecuador next year.

The carriers in their playschool colours when laid out like that are reminiscent of Klee's* Magic Squares. This external character a little different from their sober insides:



Open carrier 


Some of the carriers have been reused many times on different trips and I like the sense that they have a garnered a history. I enjoy repairing them and trying to trying ways to make make them ever more robust containers.


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Like many, I guess, I feel a certain pessimism about the way the UK is going, that the better elements in the society are suppressed and a strange and reckless yet powerful group is determining its future.


* a fine travel-painter


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Friday, September 8, 2017

Ecuador alone

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Andean Ecuador: map from Sandfords 1912




This is alternative January itinerary, this time leaving out Peru.

Why? Because the border crossing, from what I read, at the point at which I would like to cross just south of Loja, is pretty awful: by bus you cross at night , at 2 am, and the buses are pretty ghastly. Better, therefore, to focus on Ecuador, that means less lugging stuff around,  a simpler timetable and more energy spent concentrating on painting.

From north to south, circled on the map:

 Quito

 Latacunga 

Riobamba

 Guamote

 Cuenca

 Loja.




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Thursday, September 7, 2017

Ecuador and Peru: next year's itinerary revisited

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A journey to Peru and Ecuador



In this version I fly to Quito from Brazil, returning from Lima.






Map from Stamfords Library Series, 1912.

My markings: red lines are bus journets, blue ones flights.




Fly to Quito: 1 week in Quito (1)
Fly to Cuenca: 1 week in Cuenco (2)
Bus to Loja: 1 week in Loja (3)
Cross Ecuadorian border by bus and stay at St Ignacio: 3 days in St Ignacio (4)
Bus to Chachapoyas: Stay in Chachapoyas Backpackers : 1 week (5)
Visit Gopta waterfall.

Bus to Cajamarca: 1 week in Cajamarca (6)
Fly from Cajamarca to Lima: 3 days in Lima (7)
Fly from Lima to Brazil

All that takes almost exactly six weeks altogether.

I've a number of reservations about making a trip of six weeks and usually I don't travel for over a month. There are specific reasons for this, but most of them are answerable.

As follows:


1. There is an issue about paying bills here. They can all be paid online but I have a certain anxiety about this- rather irrational, as I pay them online while I am here.

2. I have an anxiety about leaving the apartment empty. This is not completely irrational as the level of crime is quite high in Brazil. However, to counter this, I have little of obvious commercial value to steal, including my computer.

3. I have encountered other long-time travelers, and many of them seem to develop a certain "stoned" mental condition caused from having too much time in which to do too little, sightseeing having its limitations. However I have found working on the paintings sufficiently absorbing not to feel this sort of malaise.

4. There is an issue of my students here. Again, this is an irrational anxiety as the period up to and just after carnival is very poor for work, and many students take these months off anyway.

5. There is a question about carrying stuff, specifically paintings. That is, I will have to lug a lot of paintings around, probably about 40 altogether if I work well and the weather is kind. This is problematic when the pictures are wet. But when they dry they can be packed close together, say three in each carrier. This isn't ideal, but usually they are dry enough after 2 weeks to do this without sticking together or getting scratched or blurred. When pictures get damaged it is usually because of poor packing combined with rough handling. You can only control the latter: in airports and bus stations their destiny  is in the hands of the fates.

Against these negative points is a strong general argument, which goes - what else will you do? That is, it will certainly be extremely hot here, there will be little work to do and the island will so be full of tourists that getting around will be tricky. I've passed the summer here before,- it's so hot outside that I sat irritable in my apartment watching TV and figiting mindlessly on the computer. That hs even less to recommend about it.





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Tuesday, September 5, 2017

Campeche

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Campeche, September 2017, oil on card, 17 x 19.5 cm




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Monday, September 4, 2017

Praia Moçambique, hills, sea


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Praia Moçambique, hills, sea, oil on card, 18.5 x 21 cm





Terribly windy- my things blew all over. The painting is good, however. 

Praia Moçambique is one of the most romantic of Florianopolis`s many charming beaches, as yet unscarred by buildings and surrounded by parkland.



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Wednesday, August 30, 2017

Vargem Grande, hill


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 Vargem Grande, hill, oil on card, 18 x 24 cm





I work- happy under the influence of Cezanne. 





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Monday, August 28, 2017

Vargem Grande

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Vargem Grande, oil on card, 15.5 x 17 cm





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Friday, August 25, 2017

Campeche, winter

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 Campeche, winter, oil on card, 16.5 x 15 cm






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Wednesday, August 23, 2017

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Interior with flowers, a table and tea things, oil on card, 14.5 x 17 cm




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Tuesday, August 22, 2017

Flowers (Say Hello, Wave Goodbye)



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Flowers (Say Hello, Wave Goodbye), oil on card, 15 x 13.5 cm




Standin' in the door of the Pink Flamingo cryin' in the rain

It was a kind of so-so love
And I'm gonna make sure it never happens again
You and I, it had to be the standing joke of the year
You were a sleep-around, a lost and found and not for me, I feel

I tried to make it work, you in a cocktail skirt

And me in a suit but it just wasn't me
You're used to wearing less
And now your life's a mess, so insecure you see
I put up with all the scenes
And this is one scene that's goin' to be played my way

Take your hands off me, hey

I don't belong to you, you see
And take a look in my face, for the last time,
I never knew you, you never knew me,
Say hello goodbye,
Say hello and wave goodbye


Under the deep red light

I can see the make-up slidin' down
Hey little girl you will always make up
So take off that unbecoming frown
What about me, well, I'll find someone
That's not goin' cheap in the sales
A nice little housewife, who'll give me a steady life
And won't keep going off the rails

Take your hands off me

I don't belong to you, you see
Take a look in my face, for the last time
I never knew you, you never knew me
Say hello goodbye
Say hello and wave goodbye

We've been involved for quite a while now

And to keep you a secret, has been hell
We're strangers meeting for the first time, ok?
Just smile and say hello


Say hello then wave goodbye

Say hello then wave goodbye
Say hello then wave goodbye
Say hello then wave goodbye
Say hello, wave goodbye
Say hello then wave goodbye
Say hello, say goodbye
Goodbye
Say goodbye
Goodbye



Say Hello, Wave Goodbye, Marc Almond and David Ball, 1982




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Monday, August 21, 2017

The white teapot

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The white teapot, oil on card, 12.5 x 12 cm





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Wednesday, August 16, 2017

Ratones, bushes

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Ratones, bushes, oil on card, 17 x 14.5 cm





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Thursday, August 10, 2017

Tranquility

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Tranquility, Trindade, Florianopolis









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Wednesday, August 9, 2017

Wednesday, August 2, 2017

Guarda do Embaú, with distant hills behind; working outside -palette

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Guarda do Embaú, with hills in the distance, oil on card, 18 x 22 cm




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Palettes





Working outside forces one to use easily portable equipment, and that includes palettes. This forces one to be very clear about what colour range one intends to use. 

I mix the basic colours in advance then adapt them where necessary as I work on the painting. It`s delightful to see how the colours open out when mixed with white. It`s similar to the way in which, when cooking, spices reveal their scents when you put them into hot oil.

Of course,  at times one mixes a set of colours and then during the working of the painting realises that another colouristic approach would be better. Live and learn!





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Tijucas

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Tijucas, in the afternoon, oil on card, 17 x 21.5 cm





From Tijucas, that strange place which seems permanently shrouded in fog. 

The air smells of burnt caramel.





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Monday, July 31, 2017

Guarda do Embaú, sandbank

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Guarda do Embaú, sandbank, oil on card, 18 x 20 cm







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Thursday, July 27, 2017

Through hills

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Through hills, Barra da Lagoa, oil on card, 15.5 x 18.5 cm




This is somewhere between Barra and Lagoa., along the canal. 



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Wednesday, July 26, 2017

Scotland

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Southern Scotland



 I have decided to include the charming town of Melrose on my British trip: 

London- Berwick - Melrose -Alloa -Edinburgh- London

There is something mysterious about the Borders to me.




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Tuesday, July 25, 2017

Rocks, Guarda Do Embaú

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Rocks, Guarda do Embaú, oil on card, 18 x 21 cm







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Sunday, July 16, 2017

A drive to Urussanga and Anitapolis

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 Woodland and fields, between Urussanga and Orleans
 oil on card, 16.5 x 14.5 cm





 Homestead, late afternoon, between Urussanga and Orleans
 oil on card, 18 x 16.5 cm

This, above, works well.





 Woodland, São Ludgero, oil on card, 15 x 18.3 cm






 Little house, near Anitapolis, oil on card. 15 x 18 cm 





I am attempting to create a style that is bolder and less ridden with equivocation. I feel that my mountain pictures are particularly prone to this fussiness. I think I am trying too hard. That may be because I am in awe of the subject, and therefore unable to respond with creative freedom. I need to find another approach. 

A fine painter of mountains is Bomberg: I must try to get a catalogue of his work.


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I took the wrong road from Anitapolis north, going to Alfredo Wagner by the most tortuous and at times muddy track. The views were fantastic, but I nearly damaged my car, and it took forever. Thank God it wasn't raining. I should have taken the paved road to Rancho Queimado. When I realised my error I had already driven already for 15 minutes and  didn't imagine that the way ahead would become so difficult.

I'd intended to stay another night in the mountains but I came back, exhausted by that drive. There is little to do in the mountain towns at night. You just sit somewhere and read and eat hotdogs because there aren't any proper restaurants and wonder what the hell you are doing there. But I like that emptiness sometimes.





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